Lisa Kerpoe

The End is in Sight

2012-01-13T09:45:00.000-06:00

I've been working on a new series over the past year. It's been a slow process because I've had to fit it in between other obligations. Most of the pieces have been finished for months, but there were two larger ones that have proven rather elusive. One piece was so close, but I couldn't determine what else it needed to be complete. The inspiration finally came on Wednesday, and it turns out it was something very simple. I realized the piece didn't have enough value contrast, so I added some light areas and just a touch of the complementary color. It is amazing what a difference that small change makes. I haven't had a chance to photograph it yet, but I'll show photos once I do.

The other large piece requires a bit more, but I'm determined to finish it by Sunday. This is a self-imposed deadline, but it is there for two good reasons. First, I have been invited to exhibit my work at the Creekside Gallery at the Hill Country Arts Foundation. I have to deliver the work by the end of January. Second, I am spending all next week in a class with Jane Dunnewold, so I won't have time to work on it then. The class is an independent projects class, so I could work on it, but I'd rather move on to something new!

I'll post more info about the exhibit and show photos of the work later this month. Now I have to get back in the studio and start working!

The Art of Layering, Part Two

2012-01-05T05:00:00.000-06:00

I had a great time at the demonstration I did for the Kerrville Art Club a few weeks ago. My presentation focused on the process of layering and showed the transformation of a piece of cloth in ten layers - from plain white cotton to finished art cloth. One aspect I love about layering is the richness it lends to the cloth. Viewers may not see all the layers, but they all work together to create depth and texture. I like to think of it as similar to a symphony. One may not hear each individual instrument, yet they all contribute to the composition. Likewise, each layer of dye, resist, paint and stitch complete the cloth. Leave out one layer and it just wouldn't be the same. Below is a detail photo of the finished cloth.

Detail shot of finished cloth

The following narrative walks through the steps I used to create this cloth. (Action photos are courtesy of Lynn Luukinen. Please excuse the blurs on some of the action photos - I moved too much for Lynn to get a clear shot!)

I use a lot of resists in my work, and they are often the very first step. I like to begin by creating background texture. There are lots of options for this - most of the paste resists work well (flour, oats, grits, potato dextrin, mashed potatoes). I chose flour paste for this cloth. I mixed equal parts of flour and water (this version used bread flour since that was all I had on hand) and spread it over the entire cloth, then let it dry. Once the flour was dry, I scrunched the fabric to crack the paste, then applied dye thickened with sodium alginate.

Brushing thickened dye over the dried flour paste


The finished first layer

Before adding background color, I created a layer of my chosen image - a stylized leaf. The leaf is a stencil I created using Grafix stencil film. (This stuff works great - easier to cut than quilting stencil. It does require a delicate hand when washing if using an intricate pattern.) I applied the image using red and yellow-orange thickened dye.

Adding a stenciled image with thickened dye

The completed second layer

Before adding background color, I reserved some of the white space with another resist. I didn't want a stark white, so I chose Elmer's Gel Glue. It is a water-soluble resist that leaves a soft, ghost-like image.

Screen printing with Elmer's Gel Glue Resist

The next step was to add the background color. I chose to apply olive green, blue green and golden brown thickened dyes with a scraper.

Adding background color with a scraper and thickened dyes

The finished fourth layer - note the soft "drip" pattern created by the gel glue

The resist did not leave enough value contrast, so the next step was to remove color with diluted bleach. I wanted to add texture rather than creating an additional image, so I flicked the bleach on with a brush to create spots.

After completion of the fifth layer

At this point it was time to put away the dyes and add a few additional touches with textile paint. I started by adding more of the leaf imagery in an opaque yellow orange.

Adding more leaf imagery with paint - layer six

Then I added more value contrast by stippling on dark brown paint with a stencil brush.

Stippling on brown paint - layer seven

It needed a little something to brighten it up, so I used copper metallic paint. I wanted just a hint of gleam, so I rubbed it on with my finger.

Applying copper paint with a finger - layer eight

Knowing when to stop is always the difficult part. At this point, I felt I was finished with paint and moved on to the final details. I added some hand-dyed fibers with needle felting and a touch of copper leaf.

Needle felting with hand-dyed fibers - layer nine

Applying metal leaf with acrylic medium - layer ten

Isn't the transformation exciting?

Creating Space to Nurture Your Soul

2012-01-03T05:00:00.000-06:00

I'm reading a book called SoulSpace by Xorin Balbes and Marianne Williamson. The subtitle, Transform Your Home, Transform Your Life - Creating a Home that is Free of Clutter, Full of Beauty, Inspired by You, is what drew me in. The clutter part, particularly. I've been feeling that my life has been taken over by "stuff". I really like the focus of the book - not only cleaning and de-cluttering, but also on assessing each room in your home to determine if it really reflects you and your life. Do you have space for the pursuits you are passionate about? Is there a room in your home that is never used? Maybe that space would be better used on something that feeds your soul.

The transformation of my living spaces will be a long-term process. I started by spending last week deep cleaning, de-cluttering and organizing each room in my home. Four and a half days of this left me exhausted and sore, but the results are worth it! I didn't realize how stressed I was by all that clutter. I feel so much more at peace in my home now. It's a great way to start the new year. The task is not complete, however enough has been completed to give me the momentum to finish.My studio is still untouched, and I fear that will take a whole week by itself!

The challenge is to keep things looking this way. Another book I've read recently, Eliminate Chaos: The 10-Step Process to Organize Your Home and Life, by Laura Leist and Adam Weintraub, includes a discussion on maintenance. (Sensing a trend in my current reading material?) That is a very important step - and one in which many of us fall short.

Time will tell if all of this actually transforms my life. For now I am content, and I breathe a joyful sigh as I spend time in my clean, clutter-free home. Wishing you a satisfying, peace-filled new year!

Taking a Break

2011-12-21T12:26:00.000-06:00

I had planned to post photos today from my demonstration Tuesday at the Kerrville Art Club. However my morning has been spent on website updates and I just don't have the energy to upload the photos today. I have decided to take some time off. I'm looking forward to curling up on the sofa with my knitting needles, my newly dyed alpaca and my kitties. So, look for photos late next week.

And whatever your holiday persuasion, may you have a pleasant one!

A New Fascination

2011-12-19T12:20:00.000-06:00

I started knitting about a year ago. I haven't made very many things during that time - I got hung up on creating a baby blanket for our newest grandson. That took about 10 months (only about 4 weeks actual working - I started in February, but once it got warm in March I didn't have any interest in having a warm blanket on my lap). I dyed the yarn for the blanket, because I wanted it to be unique. Now that the blanket is finished and mailed off (I couldn't start anything else until I finished it), I've been back at work and have finished a scarf and a neckwarmer.

I was given a lifetime supply of yarn by a friend of mine earlier this year. She had given up knitting and sent me all her projects in process. It was a wonderful surprise, lots of beautiful yarn - and high quality yarn, too. Although I love the colors she sent, I decided to overdye a few skeins of alpaca yarn yesterday. She bought it for a sweater (beyond my abilities at this point), so it's an awful lot of yarn in that color. The yarn started out a beautiful golden/brown color.

I dyed one skein in bronze, one in olive green and one in red. Here are the dyed versions.

I can see that dyeing yarn could easily become an obsession. It's just as exciting as dyeing fabric. And the additional complexity of over-dyeing the existing colors is too tantalizing. Oh dear, here I go . . .

The Art of Layering

2011-12-15T06:00:00.000-06:00

I have come to think of myself as a layerist. When I think about my work and why I like working with this medium, I think of the appeal in creating multiple layers. Any given piece of cloth has 10-20 physical layers and a number of metaphorical layers. I also see the layers as a metaphor for my life's journey. The transformation that occurs on the clothreflects the transformation that occurs within me as I create. The white fabricrepresents unlimited possibilities. As I build layer upon layer of resist, dye,printing, stitching and beading, the cloth becomes rich with depth and texture,just as each experience I have in life adds depth and texture to my being.

This topic is on my mind this week because I've been invited to speak to the Kerrville Art Club next week. I spent a lot of time trying to decide what would appeal to the group. How could I translate what I do to other media? After a lot of thought, I realized that the best approach is to talk about what I know, so I'll be demonstrating the process of layering. I'll start with white cloth and transform it layer by layer, showing some of the techniques I typically use. The meeting is open to the public, so stop by if you have a chance - I'd love to see you.

Kerrville Art Club
Tuesday, December 20, 2011
1:00 PM
Hill Country Arts Foundation
120 Point Theatre Road, Ingram, TX

A Sneak Peek

2011-12-13T06:00:00.000-06:00

Throughout my life, when people spoke about writing a book, it seemed like something that was inaccessible to me. It wasn't something I ever aspired to, or ever thought I would (or could) do. Hm. Funny how life proves you wrong.

Last week I received the final mock-up of my book on water-based resists (scheduled for release next June). It has been a long process. I started writing last November and finished up in March. The how-to photos were shot in April. Even though I've read it many times and have seen all the photos, it was pretty amazing to see it all put together.

I discovered that writing a book isn't as daunting as I thought it would be. Yes, it was a lot of work, but (dare I say?) I actually enjoyed it. Actually, the writing was just a small portion of the work involved. A lot of time was spent making fabric samples, planning the how-to photos and organizing supplies for the photo shoot.

And I really enjoyed everyone I worked with at C&T Publishing. They have all been helpful, enthusiastic and encouraging. They do their job well!

Here's a sneak peek at the cover. In January I'll post more info about the book and the special incentives I have for those who purchase it directly from me.

Synchronicity

2011-12-08T09:49:00.001-06:00

Several weeks ago I had to turn in my workshop descriptions for the classes I'll be teaching next summer at the Southwest School of Art. I try to come up with new workshops each time, because my classes are a mix of repeat and new students. I decided to teach a workshop using collography on fabric. Rather than taking the time here, I'll leave the description of collography to wikipedia. I first became aware of the technique last year at a local Art Walk. I was fascinated by the imagery on paper, but couldn't quite understand how it worked. I did some research and experimented and have adapted the traditional printmaking techniques for use on fabric.

Now I keep seeing things about collographs everywhere. Just this week I received an email about using the process on fabric from Cloth, Paper, Scissors magazine. And this morning, as I looked at the blogs I follow, there was another mention of the collograph. Both have given me additional ideas I can adapt for the class. Isn't it funny how the information turns up just when you need it?

Mixing Your Own, Part 2

2011-12-06T16:29:00.001-06:00

I spent last weekend facilitating a workshop focused on mixing dyes from primary colors. (Yes, that's where my last blog post came from. I've had color mixing on my mind for the past week.) It's a class that I love to teach and I learn something each time I do.

We used primary colors to make a color wheel in light, medium and dark values. Then we mixed each color with its complement to obtain a collection of low intensity colors and browns. We also overdyed each of the primary and secondary colors with each of the others.


A finished set of color wheel swatches

The objective was to give artists a good understanding of color mixing with dyes, the effect of using cool vs warm primaries and to train their eyes to really see the undertones in a color. The topic that seemed to generate the most discussion was using mixed colors. We borrowed Jane Dunnewold's paper towel technique. You get a paper towel moist and then sprinkle a bit of dye on it. That allows you to see all the colors that make up a mixed dye color. The companion set of fabrics (dyed in both silk and cotton) allowed us to also see the difference in color between a protein and cellulose fiber.

You could almost see the flash of a light bulb above everyone's head as they realized why they didn't always get the color they expected when using mixed dyes.

I think I gained a few "mix-your-own" converts. But just as important, even the non-converts felt that they gained a better understanding of how to work with their pre-mixed colors.

The workshop reminded me how much I love to experiment with color. It has inspired me to do some more color studies on my own. As I said last time, working with color is a life-long journey!

Do You Mix Your Own?

2011-12-01T10:37:00.000-06:00

I am a strong advocate for using pure primaries to mix dye colors. When I first started dyeing, I did so mainly for financial reasons. Buying all those pre-mixed colors can get expensive! I started with 7 colors - a set of warm primaries, a set of cool primaries and black. And though I feel that mixed colors do have their place, I still work mostly with primaries. My palette has changed, though. Now I use one set of primaries. After a lot of experimentation, I've found that I can get most of the colors I want by using Sun Yellow (Yellow MX-8G), Mixing Red (Red MX-5B) and Basic Blue (Blue MX-R). (All names are the ProChemical version.) I also use Turquoise when I want a really vibrant green or violet.

Why do I like to mix my own? I learned so much about color in those first few years by mixing the primaries. I believe that early foundation has been instrumental in my understanding of color. However I do feel this is a lifelong journey. I don't think we ever know all there is to know about color. About five years ago I thought I knew it all (or at least all I needed to know) when it came to color. Ha! Now I realize how wide the field is and I recognize that I'll never know it "all".

I continue to mix my own colors because I know how to work with those hues to get the color I want. Working with pure colors rather than mixed allows greater predictability. Mixed colors can break out in unexpected and undesirable ways. (Of course, sometimes you want that, thus my use of mixed colors on occasion.)

So does this mean I am suggesting you should go buy the colors named above? Not at all. There are a lot of wonderful books, workshops and resources about color theory and how to mix color. Each of them has merit. However, I have seen people become adamant that a particular approach is the "best". I truly don't believe there is one right way. We could debate for hours which versions of each color to use as the primary, but I think the most important thing is that each individual choose a set of colors and work with those. Each of us has a palette to which we are drawn and a one-size-fits-all approach just doesn't cut it. And that applies to those who used pre-mixed colors as well. By continually working with a finite set of colors, one learns the nuances of how each color responds in different situations and how it works with the other colors in one's palette.

I recognize that not everyone will join the primary bandwagon. Mixed colors are convenient. And they can be faster and easier if you haven't built up a knowledge base on color mixing. So, which are you - a mix-your-own or a ready-mixed dyer? I'd love to hear your thoughts.

Achieving Balance

2011-11-29T08:00:00.000-06:00

For the past ten years (at least), we have been inundated with books, magazine articles and TV shows dedicated to the subject of achieving balance in our lives. A Google search for "achieving life balance" yielded 5,960,000 results. A search on Amazon yielded 697 results. And I have to admit, I have wholeheartedly joined in the balance doctrine. Ironically, we might be able to have more balance if we didn't spend so much time trying to figure out how to do it!

I had a flash of insight this morning. (Don't you just love when that happens?!) I realized that maybe rather than focusing on balance, we should be striving for integration. So what does that mean? And what exactly are we integrating? I can't say I have all the answers, since my "flash" just happened 15 minutes ago. But it is something I plan to ponder a bit.

I suppose it will be different for everyone, just as "balance" is different for each of us. There is work, family, spirituality, health, community, friends, hobbies/interests. For me, integration means that my day is seamless. Each component is not discrete. For example, my work and my community often overlap, as does work and spirituality. Health seems to find its way into all areas of my life in one way or another - whether in the ergonomics of surface design and computer time or a lack of fitness that makes some physical activities uncomfortable. I am fortunate to have a "job" that is very flexible. When I am not teaching classes, I can set my own schedule at home and in the studio. That goes a long way to make my life integrated.

I plan to spend some more time thinking about this and how I can continue to make all the pieces into a cohesive whole. Oh, by the way, I also did a Google search on "achieving life integration" and came up with 36,000,000 results. I guess my idea is not so new and innovative after all!

How is your life integrated? Or how can you make it more so? I'd love to hear your thoughts.

Four Days in Albuquerque

2011-11-26T10:58:00.000-06:00

We had a great time on our trip to Albuquerque last week. No, we didn't make it to Santa Fe. The trip was a nice blend of city time and nature time. We shopped the unique stores of old town, and got all the Christmas shopping done. Then we visited two art museums and an anthropology museum. Since we only had a rental car one day, we did a lot of walking. I enjoyed walking through the residential areas - that is not something most tourists get to see.

On the nature side, we went to the Rio Grande nature center one day. Only saw the sandhill cranes flying overhead, but it was a lovely area and we sat on the banks of the river for awhile. We rented a car our last day there and drove to the Petroglyph National Monument. It was much different than I expected. Most pictures of petroglyphs are on red rocks. This part of albuquerque was formed by volcanoes, so the large rocks are black. It is amazing to think of those rock drawings still there after hundreds of years.

As we walked in the nature center, I took a few photos that have design potential.

We saw this cutie on our walk to the nature center. No - it wasn't a rural area. The center is located right in the midst of a residential area. They must allow agricultural zoning, because this property had several animals in the fenced yard.

XXI: An exhibit of cloth by Carla Veliz

2011-11-22T16:00:00.000-06:00

Artcloth is not only that which we make "pretty". Sometimes we use destructive processes to make a statement or create meaning on the cloth. A powerful example of this is an installation by artist Carla Veliz, titled XXI: Who We Are and Who We Could Become. The exhibit was shown at Gallery Nord in San Antonio this past September. In an effort to represent the abuse humans have inflicted on the planet, each other and themselves over the past 21 centuries, Veliz spent 21 days ripping, burning, burying, cutting and destroying a 16-foot long piece of silk. Then she spent 21 days repairing the damage.

She documented this process in a 21 minute video. Watching the video is an emotional experience - seeing the cloth tattered and damaged and then lovingly cared for and mended. The exhibit included still photos from the video and several assemblages created from the tools she used on her journey with the cloth.

Read more about Veliz on her website.

View the following links to read more about the exhibit:

http://utsa.edu/today/2011/09/artistsofmo.html

http://glasstire.com/2011/09/09/gallery-nord-21-abusive-centuries-earthly-bodies/

http://www.mysanantonio.com/entertainment/visual_arts/article/Tortured-silk-nudes-in-nature-on-exhibit-2161531.php#photo-1594072

Soy Wax Batik on Paper

2011-11-19T08:30:00.000-06:00

I've been playing around with using the techniques from Vibrant Color (mixing soy wax with dyes) on paper instead of fabric. The look on paper is different than on fabric because the paper is not as absorbent. I used acid-free, 50# sketch paper for these pieces. The dye and wax mixture was applied to the paper in a variety of ways, then steamed just as you would for fabric. After steaming, the paper is rinsed, dried and ironed. Each piece is then brushed with several coats of water-soluble varnish.

I used the paper batiks to create a number of miniatures on canvas. Some of the canvas edges have the added texture of screenprinting, metal leaf and sand. Below are some detail shots of the paper batiks. You can view the finished miniatures on my website.

If you have tried this on paper, I would love to hear about your results

Contemporary Art Exhibit by 16 Women Artists

2011-11-15T08:00:00.000-06:00

I went to the opening reception for the "11.11.11" exhibition at Gallery Nord last Friday. The exhibit features 16 women who represent a diversity of media. The show truly was awesome. I can't really do it justice in words. Some of the highlights: the ethereal paintings of Greta Gundersen, the strong female forms in Marika Bordes' wood sculpture, the exquisite color and pattern in M. Guadalupe Marmolejo's digital prints and the passion in Vernita N'Cognita's paper sculptures.

The exhibition runs through January 12, 2012. If you live in San Antonio, or will be visiting, I highly recommend it. Below are a few photos from the exhibit. You can see more photos and learn more about the exhibition on Gallery Nord's website.

Greta Gundersen

Marika Bordes

M. Guadalupe Marmolejo

Vernita N'Cognita

A Little R & R

2011-11-11T12:37:00.001-06:00

I'm going to Albuquerque, New Mexico later this month. This will be my first real vacation in 11 years. ("Real" meaning it does not involve a visit to family.) I wish I could say that this was a destination of choice, but it is more by chance. After receiving a promotional email from Southwest Airlines about a big sale, I looked at the destinations in the lowest price range. Albuquerque seemed the most interesting of the bunch.

I received some interesting reactions after telling people of my planned trip.

"Albuquerque? Hmmm. Well, you can always take the train to Santa Fe."

"Albuquerque? Oh. You're visiting family? You're not? Why are you going to Albuquerque? You should go to Santa Fe instead."

"Albuquerque? That's really close to Santa Fe. You should take a trip to Santa Fe."

I was in Santa Fe many years ago and I enjoyed it, but I looked forward to visiting a new place. After receiving such a lukewarm response to my destination, I almost considered cancelling the hotel in Albuquerque and finding one in Santa Fe instead. But then my penchant for choosing the underdog kicked in.

So, yes, I am going to Albuquerque. And I am very much looking forward to it. I've done some internet research and have found a number of interesting ways to fill our four days. Here are some of them: the National Petroglyph Monument, watching the sandhill cranes at the Rio Grande Nature Center, the Anthropology Museum, the Museum of Art and visiting the historical Old Town area. Of course, we can always take the train to Santa Fe if we get bored...

Out With The Old

2011-11-09T07:38:00.001-06:00

I left for Quilt Festival with 15 boxes and arrived home with 11. That's the positive side of providing all the class supplies - my load is lighter on the way home! I know I should just open each box and put the remaining supplies back in their place. But I think that will not happen for at least a week. My studio is now filled with all the items I am clearing out for the local fiber group's Cobweb Sale on November 14.

A small sampling of what I'll have at the cobweb sale

The Fiber Artists of San Antonio hold the Cobweb Sale each year. Members empty their studios of the fabric, beads, tools and other fiber art supplies they no longer want. Many artists also sell their artwork. It is an opportunity to buy some really neat things at great prices! Details and location are on the FASA website.

I realized yesterday that I have a lot more stuff than will fit on my sale table. I'll be selling

hand-dyed and printed fabric, both yardage and remnants
used thermofax screens
a rolling art tote
silk scarves and vests
artwork miniatures
rubber stamps
assorted shells and beads
white t-shirts, ready for dyeing
miscellaneous surface design tools

Plus, half of my table will be devoted to items $1 or less. It's the fiber art dollar store! I also have some freebies - remnants and samples of commercial and upholstery fabrics.

I'm looking forward to getting rid of items I no longer want or use. My studio will seem so open and spacious, although I know it won't take long before it fills up again. But that's what next year's cobweb sale is for!

Vibrant Color Workshop

2011-11-03T13:18:00.000-05:00

I've been invited to teach at the Newark Museum next spring. They are interested in the Vibrant Color workshop on combining soy wax and dye. I'm really excited about the opportunity to teach there. They have a good fiber program and feature workshops with Judy Langille and Jan Myers Newbury, among others.

The workshop features three techniques for combining soy wax with MX dyes. Crayons, which are great for writing, drawing and rubbings; dye paste, which is great for stencils and brush work; and hot printed wax, which works well with sponge stamps, brushes and dipping. What I love about these techniques is that they produce a color, luminescence and line quality that you just can't get any other way. Below are photos of some cloth created using the techniques. You can find more information about the workshop on my website.

Silk dupioni with multiple layers of crayon rubbings

Silk habotai with crayon rubbings, immersed

Wax paste, applied through a thermofax

Wax paste applied through a stencil over a crayon rubbing background, immersed

Hot wax and dye applied with a brush and sponge, immersed

Hot wax and dye applied with a sponge, background handpainted with dye

Fifteen Boxes, Two Tubes, Assorted Pails and a Steamer...

2011-10-31T13:31:00.000-05:00

That's what I am bringing to Houston for my classes at the Quilt Festival this week. For the past week, my living room and studio have looked like a hurricane swept through. Open boxes, supplies, fabric everywhere. When I see it all stacked up neatly, it doesn't look so bad. However, I do have to cart it all to my classrooms!

I'm feeling very pleased with myself, since I finished up with two days to spare. (I'm leaving Thursday morning.) I also learned some things last year, so I've used the same size boxes for all but one. It's a lot easier to stack and organize when the boxes are the same size.

The other thing I learned from last year is to teach full day classes rather than half day classes. Last year I taught 5 half day classes, all back-to-back. I never expected that all of my proposals would be accepted! It was exhausting, and the set up and clean up time for each meant I didn't have time for meals. One day, I taught two daytime classes and a night time class and was fueled only by four Cokes and some cashews.

This year, I'm teaching three classes and a demo over the course of four days. That is much more manageable! As of two weeks ago, there are a few spaces left in each of my classes. If you decide to make a last minute trip, you can check out my workshops on my website. Or maybe I'll see you in the exhibit hall or vendor area.

New Artwork

2011-10-28T16:57:00.001-05:00

This summer was supposed to be devoted to studio time. But, if you read my last blog post, you see that it didn't end up that way. I accomplished a lot in July, finishing up a new body of work. I showed photos of a few of them on my blog in July. But other than that, I only managed to finish four pieces (and only because I had deadlines looming!) The first two were mounted on canvas. One piece was all wrapped up and ready to ship before I realized I had not taken a photo. I just didn't feel like unwrapping, so no photo.

The Edge

This piece incorporates multiple layers of dying, hand painting, acrylic paint and hand needle felting.

The other two are large pieces of artcloth, 72" x 30". Created on dobby noil (a really nice fabric available from Exotic Silks), they incorporate both rice baby cereal resist and soy wax resist along with multiple layers of dye painting.

Crossing the Line

Between the Lines

Life Happens

2011-10-23T11:38:00.000-05:00

I have noticed a connection among some of the blogs I follow lately. A number of people lament how little time they have spent creating because of ...(insert list of obligations/distractions here). I feel exactly the same way. This summer was supposed to be dedicated to studio time. I had a light teaching schedule and I planned to start a new series. I felt I had all the time in the world. I was going to have so much completed by the fall. But...life happened to me, as well. Don't get me wrong, I wasn't completely unproductive. I was very productive on the administrative side of things (updated website, new computer, etc.) And I managed to complete a number of works that had been in progress for months. (Actually they were in the closet for months - the progress came in August.) So I now have a cohesive body of work for possible exhibition.

I wondered why this seems to be so common. Why do we often let other priorities take over our studio time? Sometimes there is no choice - family responsibilities take precedence. But in my case, much of it was personal choice (did I really have to redo my website this June - couldn't it wait until fall?) There were also emotional distractions that kept me away, rather than demands on my time.

So that leads to the question - how to prevent this from happening again? Right now, I'm planning December as my next "studio month". Oh, I know all the time management techniques and the creativity unblocking techniques - I just have to use them. And ultimately, that self-discipline is the hardest part.

Fiber Exhibition

2011-10-05T10:01:00.000-05:00

Yesterday I had a sneak peak at the entries for the Fiber Artists of San Antonio Annual Exhibition. It seems like each year, the entries are better than than the last. Based on what I saw, the trend continues.

The exhibit was juried by Ilze Aviks. Aviks creates amazing work using cloth she hand paints or dyes and then covers with hand stitching. The show runs throughout the month of October and the opening reception is this Thursday from 6-8 pm. Hope you can make it! Below are some photos from previous exhibits.

When: October 6- 29
Where: Gallery Nord, 2009 NW Military Highway, San Antonio, TX
Gallery Hours: Wed-Sat 12-5 pm

Sara Crittenden


Laura Ann Beehler

Sarah Burke

Laurie Brainerd

Learning . . .

2011-09-22T17:08:00.000-05:00

My husband and I are now empty-nesters. No, we didn't just pack off the last of the kids to college - we brought our foster pups to the shelter so they can be adopted. For the past five weeks, my life has been absorbed by these pups. I was a reluctant foster parent, but I found them abandoned in the street and couldn't pass them by. The time spent with these puppies has really been a learning experience for me. Sure - there was a lot of learning about how to care for puppies (I'm a cat person and have never had a dog). But I also learned a lot about myself. (For those who just want to skip to the puppy pictures, view the puppy blog.)

Okay, true confession time. When I found the puppies, I thought I would only have them for a day or so. I'd bring them home, check with one of the local shelters and drop them off. The puppies were so young (about 2 weeks), none of the shelters would take them. One shelter would take them, but they admitted that the puppies would be euthanized because they weren't equipped to provide the round-the-clock care they needed. After a few days of denial, I realized I would have to keep them until they were weaned. I honestly didn't think I had it in me to do what needed to be done. And to do it with no anger, regrets or resentment. I surprised myself.

The puppies have consumed my time for the past five weeks. I was pretty much housebound - only leaving for short errands.We started out feeding them with a baby bottle every four hours. Not having children, the concept of 4 a.m. feedings was new to me. Fortunately, the puppies moved through their growth cycle pretty quickly. By the second week, we were able to leave them for six hours at night. That period pretty much cured my insomnia - I slept great in the little time I had for sleep. I have a lot of respect and sympathy for new parents - they have to get by without sleep for a lot longer than I did!

And while I could have done work in my home studio, I found it difficult to concentrate. I worked just enough to meet the deadlines I had. I now find myself with two pieces of artcloth due the end of next week for an ArtCloth Network exhibition. Fortunately I had a vision and created a number of samples earlier this summer. When I started working on the cloth last week, I was able to jump right in.

So, what did I learn from this experience?

I have more patience than I realized.
All that reading I have done on acceptance has paid off. I felt no resentment and was able to accept (and enjoy) the "disruption" to my life.
My practice of living in the present moment has also paid off. I focused completely on the puppies - not just with the caretaking tasks, but also holding them and playing with them.(to the detriment of my studio time!)
As much as I love the puppies (they really are great puppies), I am not ready for the responsibility of having a dog full-time in my household.

It was a bittersweet goodbye today, with plenty of tears. But I know that they will be adopted into good homes. My home was just a stopping point on their journey. And I feel privileged to have been a part of it.

One People, Many Paths

2011-09-08T10:30:00.002-05:00

Once again I am participating in One People, Many Paths; The Sacred Art of Altars. This exhibition and auction features over 50 artists working in a wide diversity of media. Each artist is supplied with a handcrafted wooden box to transform into an “altar” focused on whatever matters to them – personally, artistically and/or spiritually. The altars are auctioned off to benefit Celebration Circle, a local spiritual community.

This is one of my favorite exhibitions, because I enjoy taking the time to think about what matters to me and I enjoy seeing the work of the other participating artists. The altars will be on exhibit and available for silent auction bids throughout September during normal business hours. The closing reception will take place on Thursday, September 29 from 6-7:30 pm. It will be a fun evening, featuring live music, light hors d’oeuvres, final bidding and the official closing of the month-long silent auction. The reception will be followed by a special screening of Joe vs. The Volcano (1990), a delightful film with a funny, insightful look at purposeful living with Tom Hanks and Meg Ryan. This is a wonderful opportunity to mingle with the artists and enjoy the show. Tickets for the closing reception are $15 in advance, $20 at the door. There is no charge to view the exhibit during the theater's normal business hours. For more information, contact Celebration Circle.

View photos of the exhibit on flickr.

If you are in San Antonio in September, I hope you can make it to see the show!

What: One People, Many Paths; The Sacred Art of Altars

When: September 1, 2011 through September 29, 2011

Where: Bijou Theatre in Wonderland of the Americas Mall, San Antonio, TX

Earth Wisdom

Is There Music in Your Muse?

2011-08-30T16:14:00.000-05:00

I'm fascinated by the subject of how sound affects our inspiration. Some people prefer to work in quiet. Some prefer music. Others prefer talk radio. I find all three to be appropriate at different times. A lot depends on the particular task. My favorite NPR shows are perfect for tasks like hand stitching, fusing, etc. Design work requires absolute silence. I turn to upbeat music while doing more routine aspects of surface design - mixing dyes, applying resists. And then there are the hybrid moments. When I'm working on design and surface design simultaneously. This occurs when I have a general plan, but I need to make spontaneous decisions as I'm printing my fabric.That's when I turn to meditative music.

I have had two very productive studio days this week. This is a welcome relief from a summer of lethargy. I was listening to a new CD both days - Music for a Shift in Consciousness. Based on research by Bruce Lipton and composed by Russel Walder, this music is designed to create a shift in brain activity to the calming alpha state. I suppose if you are in a more relaxed state, it is easier to be open to the flow of creativity and inspiration. So, can I credit my burst of inspiration to this CD? I don't really know. It may truly be just a coincidence. But I do know that I will keep listening!

Hardly Working

2011-08-26T06:45:00.000-05:00

I was eager to get into my studio after my walk Monday morning. I had a mental list of to-do's and I was excited about moving some projects forward. Those plans were completely turned around when I happened upon three abandoned puppies on my walk. They were very small - their eyes weren't even open yet. Unable to just leave them in the street, I brought them home.

Baby, Brownie and Big Boy

After spending the first two days figuring out how to take care of them, trying to find a shelter that would take them and trying to take care of their terrible flea and tick infestation, I was exhausted and frustrated. I've got the routine down now. Bottle feedings every four hours, daily sponge baths, periodic replacement of the paper in their box and frequent cuddles. Since no shelter will take them this young, we will be fostering them until they are weaned.

It has been an eye opening experience in many ways. On one hand, we've seen the result of the darker side of humanity - someone leaving those puppies to fend for themselves. (Based on the circumstances in which I found them, the shelter thinks it unlikely that they were born to a stray.) On the other hand, the people at the shelter were so helpful and obviously have a great concern for animals. They were eager to help us foster and provided us with food, a crate and veterinary care.

It has been fascinating to watch them. The changes in only four days are amazing. Their eyes are now open and they are trying to walk. We have also observed their different personalities.

I expect it will be challenging to care for them over the next few weeks, but I think it will be very rewarding. Plus, now that things have settled down and I have a routine, I can get back in the studio and create!

Noises in the Night

2011-08-22T14:30:00.000-05:00

I was awakened from a very deep sleep by a noise at 4am (well, actually it was 3:52). In my sleep-dazed state, I was convinced it was the sound of someone trying to open the front door. I silently listened for further noises. Nothing. I was about to turn over to go back to sleep and a voice in my head said, "What if there really is someone out there? I better get up and turn on a light. That will scare them off." So I tiptoed to the edge of the hallway, reached in and turned on the light in the living room. Then I sent my sleepy husband out to investigate further. (Funny how things I did for myself when I was single are now relegated to my husband. But that's a topic for another time.)

Once the adrenaline wore off, I lay in bed, unable to go back to sleep. I pondered the reasons such a small noise would cause that reaction. I feel very safe in my neighborhood. But when I was in my early 20's I had two experiences that threatened my personal safety. It has taken many years to overcome my feeling of vulnerability.

Then I started thinking how this was a good metaphor for what we often do with our art. Most of us have unfounded fears related to creating and exhibiting our art. While some of the fears may be universal, I believe that we each have our own vulnerable areas. Our "noises in the night".

One of the ways I have worked to overcome my art-related fears is to make a list. I think of the worst thing that could happen if my fear came to be. I know it sounds pretty strange for a confirmed optimist to purposely think negative thoughts.And I usually do try to banish negative thinking from my mind. However I have found that it does help in this case. When I contemplate what could happen, I realize it really isn't the end of the world. It may not be fun, but I know I would get through it. So I completely embrace the fear, let the feelings wash over me. As I realize all is well, the fear recedes and I can leave those vulnerabilities behind.

What are your "noises in the night" and how do you deal with them?

Solar Dyeing

2011-08-19T11:00:00.000-05:00

The hot, sunny days we've been having are perfect for dyeing with plant materials. I prefer the "no-cook" method to natural dyes and let the sun do the "cooking" for me. The technique is pretty simple, just place your pre-mordanted fabric or fibers in a container, layer with flowers, leaves or twigs, cover with water and let sit in the sun. These pots have been out since Tuesday. I'm using esperanza and crape myrtle blooms, firebush, bay and rose leaves, and pecan husks.

My approach to natural dyes is to use what I have at hand - plants growing in my yard or items I can get at the grocery store. I also use only non-toxic mordants. I had previously avoided natural dyes because of the mordants. After reading India Flint's book, Eco Colour, a few years ago, I became interested in her approach. One of the techniques she discusses is bundling the fabric and plant materials and letting them sit for a few weeks so that as the plant decomposes, the natural colors are released into the fabric. Below are some of my experiments with the bundling technique.

Multiple varieties of leaves, and multiple layers of bundling

Dried hibiscus flowers

Red onion skins

Red rose petals

If this has sparked your interest, view my recommended reading list for other books about natural dyeing.

Grits are Great Part 2

2011-08-16T08:30:00.001-05:00

I first tried grits as a resist after Gay Ousley made the suggestion last fall. I was intrigued by the pattern, somewhat like oats but more finely textured. I experimented with a variety of grits and recipes. They have become one of my favorite resists. (I know, I say that about all of them!) Below are photos of cloth created using grits. It is very easy - they only require hot water - no cooking. Complete directions are in a tutorial I created. If you try them, let me know how it turns out!

Relief from the Heat

2011-08-06T17:35:00.000-05:00

It has been a particularly hot and dry summer - where I live and in many other parts of the country. Having worked to create a drought-friendly landscape, we never water our lawn, and rarely water our plants. We have learned that the brown grass will come back again when it rains, and so will most of the plants. However this year, the drought and heat have been exceptional. Even the medium-sized trees are feeling the heat. So it was a joyful respite to see our spider lily bloom.

Yes, I know - it isn't technically relief from the heat. It's still just as hot as ever. But looking at the beautiful blooms takes my mind off the heat - for a few glorious moments.

What is your "relief"?

Finishing Some Things

2011-07-29T13:45:00.001-05:00

Last week I spent some time finishing up a number of pieces. These are pieces that were started last fall. I felt they all had potential, but was stuck on exactly what to do. Nothing like a six month break to bring a new perspective.

This piece was created with soy wax resist and was one in a number of studies I did on complementary colors. Here is the before version. Interesting, but no focal point.

After a few layers of dye and handpainting, here is the finished piece.

This piece was created using sugar syrup resist. Here is the before version.

I wasn't thrilled with the composition, so I cut it up, discharged some of it, dye-painted some areas and put it back together.

This last piece is another complementary color study and was created by brushing potato dextrin through plastic hardware cloth. The before version:

Again, not a strong enough focal point. I decided to cut this down and put it on a 12" x 12" canvas and add some contrast with paint and metal leaf.

Up to My Elbows in...Tapioca

2011-07-25T08:00:00.001-05:00

Ahhh, the lure of the resist in surface design. I've tried all the commercial products and many of the standard kitchen-based products (flour, oatmeal, sugar). Why do I keep trying new things? Don't I have enough options already? One would think so, but apparently not. My latest favorite resist is tapioca. Yes, you read that right. I don't think I've ever actually eaten it, so it never occurred to me to use it as a resist. Thanks to Linda Dawson for giving me the idea!

Tapioca produces an intriguing pattern. It doesn't really crack like the paste resists (flour, oats, potato dextrin). The photo above shows a cloth with two layers of tapioca resist. You can see the wonderful marbled pattern it produces. Peeling the dried tapioca off the cloth is a bit like unwrapping a fruit roll with texture beads. I would be tempted to use the leavings in my art, if only there wasn't the problem of decomposition. All the details are in the next installment in my series, Resists From the Kitchen in Quilting Arts Magazine.(August/September issue) You can also see more photos of cloth made using tapioca by downloading the pdf file from my website. Try it out and let me know what you think!

Fridays Downtown

2011-07-22T18:33:00.000-05:00

On Friday mornings in the summer, I teach an independent study class at the Southwest School of Art. Everyone chooses their own projects to work on. There are usually 3-4 "regulars" who come for the wet studio and large print tables, the comraderie and guidance on their projects. There are also usually 2-3 new people. I love this class because it is inspiring to see how the projects progress over the eight weeks. I also love that the regulars are very welcoming to the newcomers and are generous in sharing their knowledge.

I also love the opportunity to be downtown. I usually come in early on Friday mornings to take a walk before class. As I walked along the riverwalk this morning, and through the hemisfair plaza (site of the 1968 world's fair) I realized how I take my city for granted. San Antonio is a great city. It has a vibrant art community, a beautiful riverwalk, interesting historical areas and some hidden garden gems. It's a large city, but it has the feel of a much smaller place.

The riverwalk and hemisfair park were pretty quiet at 8 am. There were a few people walking hurriedly to their jobs. A few smiled and nodded, but most didn't make eye contact, lost in their thoughts. I was struck by how lucky I am, not only to live in such a great place, but also to have a "job" that allows me to take the time to enjoy my city.

Here's a challenge for you all this week - allow yourself time to enjoy the unique aspects of your city. I'd love to hear about it!

Do I Really Look Like That?!

2011-07-21T08:20:00.000-05:00

Yesterday I received a copy of the DVD for Quilting Arts TV Series 800. I flew to Cleveland in February to film two segments for the series that airs on some PBS stations. I have to admit, I was a little nervous to see how it came out. During filming, you only get one shot - no do-overs. I was afraid that maybe I said something really silly. It all happened so fast, but Pokey Bolton is expert at guiding the guests along.

Bottom line, I was pleased with how it came out. I did a segment on Resists From the Kitchen, showcasing oatmeal, mashed potato and baby cereal resists. That segment appears on episode 806 (scheduled to air in early September). I also did a section on adding texture with brayer printing. That segment appears on episode 809, scheduled to air in mid-September.

There are 12 episodes in the series, which features Ana Buzzalino, Faith Cleary, Vivika Hansen DeNegre, Diane Rusin Doran, Maria Elkins, Noriko Endo, Lynn Krawczyk, Jane LaFazio, Nancy Odom, Mary Pal, Susan Shie, Cheryl Sleboda, Jennifer Solon, Judith Trager, and Terry White. Pokey Bolton and Helen Gregory from Quilting Arts Magazine also filmed some segments. The episodes cover a lot of ground - surface design, machine stitching tips, collaged and fused quilts and even a little color theory.

Check to see if your local PBS station airs the show. If not, the DVDs are available through Quilting Arts TV.

The Gift of Time

2011-07-17T17:55:00.000-05:00

Like many people, I work well to a deadline.(Most of the time.) It gets me moving - realizing I can't just sit and think about it - I have to finish it! I've been working on a piece for a charity art auction. I was moving slowly - taking my time to decide what I wanted to do. Last week I had a momentary panic when realized it was due Sunday. I kicked into high gear yesterday and worked hard all day to complete the project. By late afternoon, it was complet except for a few layers of varnish and some minor gluing.

When I looked up the information on the time and location for drop-off, imagine my surprise when it said the piece was due August 14th. I don't know why I thought it was due today, but I did. So, now I have the gift of time. If I knew the deadline was next month, I would have dragged the project out. Spending more time contemplating what to do. Now it is finished, so I have one less thing to worry about next month.
Actually, it's not quite finished. When I realized it wasn't due today, I held off on the varnish. That can wait until tomorrow!

Sue Dennis: Destination USA

2011-07-13T08:56:00.001-05:00

Below is a "must see" link. Sue Dennis, an artist from Brisbane, Australia, has a solo exhibition opening this week. The work was begun during a 3 week residency last fall in La Grange, Texas. I met Sue at the Quilt Festival and had a chance to get to know her better when she visited Jane Dunnewold and me in San Antonio.

Sue's work was inspired by the plant life and scenery in eastern Texas. The work is beautiful. Please take a minute to visit her website and read her blog.

Sue Dennis: Destination USA

Time for Something New

2011-07-10T16:55:00.000-05:00

I've had an interest in working with acrylic paints and mediums for the past year. I allowed myself some play time last month. I really like using gel mediums to build up texture. Some of my interest came from using resists for so long. Oatmeal, grits, tapioca and potato dextrin all create such a wonderful dimensional surface on the cloth. When they are washed off, the resulting pattern is interesting, but I like the idea of real texture, not just visual texture.

I created a number of small studies. In most cases, I started by building a textured surface with joint compound or gel medium. Then I applied layer upon layer of sheer color. In a way, that is much the same as I do with my cloth. Some were really awful and are in the trash. Some are okay, and are awaiting more layers. Here a photos of a few of the pieces that I like.

A Gift

2011-07-06T08:58:00.000-05:00

I received a beautiful gift for my birthday a few weeks ago. A silver bracelet. I'm not much for jewelry - no rings, necklaces or bracelets adorn my body. The pierced holes in my ears have long since closed up. Yet this was a special gift from a special person and I wanted to honor that. So I have decided to make it my "mindfulness" bracelet. I use it as a reminder to stop, breathe, smile and appreciate my many blessings. Every time I become aware of the bracelet throughout the day, it centers me. So this really was a special gift - and much more than just a beautiful bracelet.

Let There Be Light

2011-06-17T17:00:00.000-05:00

I've been reading up on photography lately. I have dived into the "photograph your own artwork" waters.I know this goes against the wisdom of sticking to your area of expertise. I would prefer to use a professional, however on the occasions when I did, the photos were not much better than the ones I take. Mine are okay, but they can be improved.

At first I researched cameras, thinking I needed a new camera. After doing some research, I believe the camera is not the problem - its my lack of knowledge. So I'm reading up on f stops and shutter speed, depth of field and white balance. And, of course, lighting. That is always a challenge, especially with some of my large pieces.

Several resources suggested using two 500 watt light bulbs. I decided to try the compact flourescents, because they use a lower wattage to achieve the same amount of light. They are supposed to be much cooler than tungsten or halogen. After seeing the $50 price tag for one such bulb, I settled on the 400 watt equivalent for half the price. They arrived yesterday, and I have never seen such a large light bulb in my life. Here are two photos to give you some perspective on their size. I'm almost afraid to use them - they are so big, they could be dangerous! I'm not even sure they will fit into the clip-on light fixtures I have.

I'm planning a photography session next week, so I'll let you know how it goes.

Is It Done Yet?

2011-06-03T06:47:00.002-05:00

Many artists ask themselves that question. How do you know when a piece is done? There is often a tendency to keep adding... maybe a little beading, maybe a little stitching, maybe some more printing, how about some gold leaf?

I've been thinking a lot about what drives that reaction. We could probably talk for days about all the factors that contribute. One of the things I face is how to keep the balance between simple elegance and subtle complexity. I've been drawn to less clutter and chaos in my work. Maybe because I want less of it in my life. Clean lines that exude calm, peace, contentment - that is what I want to achieve. Yet I also know that in order to achieve that, it often takes many layers to achieve depth and complexity. All those layers may not be obvious to the viewer, yet they contribute to the overall effect.

Sometimes I'll look at a piece and feel it is finished, but then feel as if it's too "simple". I think that others won't value it because the many hours and layers of printing, painting or dyeing that were involved may not be evident. Yes, I know, why should I care what others think? But putting your art out there can leave you feeling somewhat vulnerable. So, my challenge for this summer is to listen to my own voice. Honor my intuition about my work. If my voice says I'm finished, then so be it!

Who Are You?

2011-05-28T06:15:00.002-05:00

Sock Monkey wine glasses by Mimi Kerpoe

I'm a few chapters into Julia Cameron's book, Walking in this World, and this morning's reading really spoke to me. Cameron talks about accepting yourself (and your art) as you are right this moment. Many of us sometimes feel our work isn't "good enough" or not "high art". But what does that really mean? Are there different classes of art - some more worthy than others? I don't think so. Our art is all about our own self-expression.

We often reject who we are, wanting to be more like someone or something else. Cameron feels that not only should we not fight who we are, we should celebrate it. We should do what we love not what we feel we should do or what others think we should do.

My sister in law is a great example of one who celebrates her unique talents. Mimi is a very talented artist and teacher. The above photo shows some wine glasses she painted for a charity auction (she was one of 50 local artists participating.). Mimi has a great sense of humor, she is playful, enthusiastic, creative, joyful and truly listens to her inner voice. These glasses are a great reflection of that. Who could look at them and not smile?

We all need a role model like Mimi in our lives, to remind us to be who we are and let our light shine. Who is your role model?

Inspiration . . . and Faith

2011-05-12T14:47:00.000-05:00

Last week, when faced with my first studio time in months, I wondered, "how do I get the ideas flowing again?!" I pulled out a few of my tricks for building creative energy, but nothing much happened. I didn't really worry about it too much, because I have faith in the creative process. I know that inspiration comes at the strangest times. And once again, my faith was renewed.

I took a few days off to visit my mother and each night I awoke with ideas buzzing around in my head. I wrote them all down, and I have enough ideas to last the next five years. That can be a bit overwhelming. But I'm not worried . . . I have faith that I'll be inspired to pursue just the right ones.

Living for . . . Tomorrow

2011-04-30T13:35:00.000-05:00

That's what I've been doing for months now. Putting things off to a future date when all my deadlines are passed and I'll have time. I've been working on a book for the past 6 months and it is finally finished and off to the publisher. I've been telling myself, "If I can just get by until May, then I'll have some free time." This is a familiar story for me. I get crazy with deadlines and look forward to a future date when I have fewer commitments. But the funny thing is, somehow that future date never comes. New commitments appear to fill in the "free" time.

How do I let myself get caught up in this cycle? You might say that I should say "no" more often or give up some things. Well I have been much better about doing that. But I've realized that I am a workaholic. I love what I do and I thrive on deadlines (for the most part!) Yet I also believe in living in the present. And when I'm focused on "getting by", I'm not living in the present. I suppose it's all about balance. Finding a way to keep that sense of presence in my daily life while still working toward my commitments. That is what I strive for, and it's clear that I will be walking this path for awhile longer.

Irony or Synchronicity?

2011-04-23T12:34:00.003-05:00

They say that you teach what you most need to learn. I experienced this first-hand yesterday. Last weekend, I spoke on creativity to a local quilt guild. My presentation focused on some of the things that can block creativity and some strategies to get ideas flowing. Only 7 days later, I was in a creative block.

I haven't had much studio time for the past six months, between teaching commitments and book projects. The only time spent in the studio was creating samples. With most of those deadines behind me, I decided to take a studio day. But, I had absolutely no inspiration or enthusiasm. I followed my own advice to "do something". I blocked off the entire morning and pulled out some cloth I had started months earlier. I took little steps, doing one small thing, then another, then another. I really had to fight the urge to check my email (the computer is my distraction of choice.)

"So, did it work?", you ask. Yes, it did. Not only did I accomplish a lot, I have a lot of ideas and am excited to finish what I started. Maybe I would have gotten out of my slump anyway, but I think that having spoken about creativity only a week earlier made me more aware of how to get over it. I guess even when we know something intellectually, we still need a reminder now and then.

May you experience the flow of creativity today!

Endings . . . and Beginnings

2011-04-04T10:08:00.000-05:00

Last week was the ending of the 2 1/2 year ArtCloth Mastery Program in which I have been participating. It is a rigorous study in surface design techniques, color theory, design principles and professionalism that meets for 6 days, twice a year. In addition to the work done during class, participants are responsible for several assignments and for creating a body of work in between each session.

It has been sometimes delightful, sometimes frustrating, sometimes difficult, but always worthwhile. I have learned so much, not only from Jane Dunnewold, the instructor, but also from each of my classmates. The class culminated in an exhibition in San Antonio. Details on the exhibit are below for those who are interested in stopping by.

As with any ending, there is the question, "what now?" Most of my "free" time has been spent on class assignments. During the past five months I have also been busy writing a surface design book, to be published next spring. That schedule has meant that I have had no time in the studio since last September. Now I have the rest of the year stretching before me with the promise of lots of studio time. While this ending is bittersweet, I am looking forward to beginning a new body of work.

Nine other artists are also represented in the exhibition: Edie Brown, Gay Kemmis, Catherine Kirsch, Joy Lavrencik, Lynn Luukinen, Liz Napier, Jeanne Sisson, Priscilla Smith and Barbara Schneider. Radius Center is located at 106 Auditorium Circle, San Antonio, TX. A book with artist statements and a representative photo of each artist's work can be viewed at http://www.blurb.com/books/1982335 .

Spring

2011-03-11T10:36:00.000-06:00

When I lived in Chicago, the first robin was the sign that spring was coming. In south Florida, spring wasn't much different than winter. I always dreaded late spring, because the weather would soon turn from glorious to hot and steamy. In Texas, it is the bluebonnets that herald in spring. In a good year, the beautiful blue-violet flowers blanket the sides of the roadway. The local shops that cater to tourists are filled with photos and paintings of bluebonnets, so it is easy to take them for granted. But all it takes to remember their beauty is one perfect bluebonnet and one moment to enjoy it. Last week, the first lone bluebonnet emerged from our new wildflower garden. I guess that means spring is officially here.

What is your "bluebonnet"?

Design Transformation

2011-03-05T08:00:00.001-06:00

I've been doing a lot of brayer printing lately and have a wonderful piece of lacy fabric that makes a great pattern. I've heard a lot about PhotoEZ for screen printing and wanted to try it, so I decided to transform this image into a screen.

Lace fabric

The first step was to paint the lace with black craft paint so it would show up when I scanned it into the computer. The resulting image came out with a lot of gray tones, so I manipulated it in my photo software so it was only black and white.

Then I decided to try the negative image to see what that was like.

I liked that better, so that is what I used to create the PhotoEZ screen. PhotoEZ is essentially a piece of mesh covered with photo emulsion. The website makes it sound so easy, but I was skeptical. It actually was very easy and came out perfectly the first time. Basically, you place a photocopy of the image on top of the emulsion covered mesh and let it sit in the sun for 5 minutes. (There is more to it than that, but it comes with complete directions.)

After washing out the softened emulsion, I had a screen ready to go.

Here is what the print looks like:

I love the idea of creating screens with some of the unique patterns I get with brayer printing. I think I'll be making a lot more of these. I hope it is a sunny spring!

Boring to Beautiful

2011-03-02T13:35:00.001-06:00

I taught a class on brayer printing last weekend at the Southwest School of Art. The brayer is my new favorite tool. Although I have used it for years, I've only recently come to fully appreciate what a versatile tool it is. It is a great way to transform fabric. It can be used with just about any medium, including paint, thickened dye, discharge agents and resists. You can achieve a variety of effects with a brayer all by itself. Then add some textured items into the mix and the possibilities are endless!

We started by comparing the marks made with a rubber brayer, a foam brayer and a napped brayer. Then we add texture by placing items under the fabric and brayering over them.

This fabric was scrunched, then brayer printed with a rug gripper and a piece of lacy fabric underneath.

This fabric was brayer printed with rubber bands and egg noodles underneath.

Detail view

A rubber brayer created the yellow background pattern and the fabric was scrunched before being brayered with purple.

A lot of these pieces looked different by the time class was finished, because we kept adding layers of printing and dye.

Cathy adds some background color with dye.

Here is how this piece looked Saturday morning.

And here is what it looked like on Sunday afternoon.

We also spent some time working with flour paste and gel glue resist. The resists were brayer printed , then dye was either brayered or painted on.

Sarah applies flour paste resist with a foam wall roller.

I'll be teaching a one day version of Boring to Beautiful at the Quilt Festival in Houston this year. Hope to see you there!

Selling Out or Selling Smart?

2011-02-18T13:02:00.000-06:00

Are visual artists "type-cast" like actors? I wonder. If we become successful at something or known for working in a certain style, is that all people want to see from us? What if we want to try something new - will it be accepted?

This is on my mind after a presentation by an artist at a local art organization. The artist is very successful, has work in galleries throughout the world and has been known for 30 years for her florals. Her work is in demand and sells for thousands of dollars.  She has been drawn to a more abstract style, yet feels some barriers in getting this work accepted into galleries. Because her florals are so successful, that is what the galleries want. She exhibits her abstract work under a different name.

There are so many ways I can process this information. Is she selling out by continuing to do florals? I guess if she likes doing them she isn't selling out. But if she prefers painting abstracts, painting florals takes time that she could be spending on the abstracts.  On the other hand, if she can get $5,000-$9,000 for one floral, she doesn't have to make as many, which would free up time for working on abstracts.

And there is also the emotional issue. How does that feel if the work you prefer to create is not valued in the marketplace? It can take a thick skin to deal with that.

I suppose there really are no answers to a lot of my questions. Each of us has to make that decision for ourselves.  This does tie in with recurring thoughts I have had about my style. I don't feel that I could work in the same style or the same theme for 30 years. This isn't a negative judgment of those who do, because others may have more focus and be able to explore a concept more deeply than I. But I struggle with how to keep things fresh, and also maintain a recognizable style.

I'd love to hear your thoughts on this.

Art Tour This Weekend

2011-02-15T08:00:00.003-06:00

This weekend is the 4th Annual On & Off Fredericksburg Road Studio Tour. Organized by Bihl Haus Arts, this self-guided tour of artists' studios takes place in San Antonio’s Deco District. It features over 90 artists representing a wide variety of styles and media.

I'll be participating, along with Jane Dunnewold, Linda Charlton, Martha K. Grant and Allison Brown-Cestero at ArtCloth Studios. We will have some of our work on exhibit, and we will be doing demonstrations throughout the day. The studio is located at 1101 W. Woodlawn Avenue, at the Beacon Hill Presbyterian Church. I hope you can stop by!

ArtCloth Studios did not participate last year, so I had the opportunity to visit some of the studios. It's really fun, because you see the artist in their creative space. You have an opportunity to see their work and talk with them.

The tour weekend kicks off Friday evening, February 18, 6:00-9:00 pm, with the Reception at Bihl Haus Arts, 2803 Fredericksburg Rd. On exhibit will be works by each of the studio tour artists. Stop by for the fabulous art, hors d’oeuvres, wine and live jazz.

The tour is on Saturday, February 19 from 11-6 and Sunday, February 20 from 12-5.

Visit the website for more information.

Healing Art Challenge

2011-02-01T09:34:00.000-06:00

I came across an art challenge on Cori Berg's Sacred Arts blog the other day. It's a challenge to create art about finding joy. You can create in any medium and if you email a photo of your piece to Cori by Feburay 4th, she'll post them on her blog.

I sent a photo of one of my experimental acrylic pieces - because I found so much joy in creating it! I hope to see some of your work there on Friday , as well!

Trying Something New

2011-01-31T07:37:00.002-06:00

Ever since I started playing around with acrylic mediums to create texture on the edges of my collage-on-canvas, I have felt a pull to paint with them. Now, I have never done any acrylic painting - just a little watercolor years ago. It's the allure of texture - using gel mediums and modeling paste to create a 3D surface. Up to now, it's just been that idea in the back of my head. Then, at Quilt Festival, I bought the book, The Creative Edge, by Mary Todd Beam. I also picked up Painting Abstracts by Rolina van Vliet. Both books have a number of exercises using acrylic paints. So, last week I gathered my supplies and got to work.

My first step was to cover several boards with gel medium and make marks on the wet gel to create texture. I realized this was going to be expensive, because I was using a lot! So I pulled out the wall patch compound and used that on some of the boards. I have one that has an acrylic base, which is important. Without that, it will crack off the surface when it is dry. At least that has been my experience using it on the edges of canvas.

Beam recommends illustration board, but I used mat board since I have a lot on hand. After the medium/wall patch dried, I applied gesso so I would have a nice surface for painting. Below are a few of my textured boards, ready to paint.

Scratches with a bamboo skewer

The medium was squeegeed through a piece of heavy lace. Can't really see the lace pattern, but it has an interesting texture.

Here I used a spring whisk, part of a plastic ceiling grid and a skewer.

This is pretty much like using the sgraffito technique on flour paste, so I felt right at home creating these backgrounds. Then I laid the first wash on one of them. That takes me back to my watercolor days. I love the soft effect even more with the textured background. And when I paint over it, those colors won't bleed into the 2nd layer.

It's a slow going process, since I only have a short amount of time to devote to this right now. But I like working in stages like this. And I know they don't look like much, but I am having so much fun doing this. The neat thing is that I don't really care what the end result is - I'm just enjoying the process!

Quilting Arts TV

2011-01-26T09:00:00.002-06:00

I received some exciting news last week - I have been invited to participate in the taping of Quilting Arts TV next month. I now get to join the ranks of some of my favorite artists. The show airs on PBS in some markets.

I have been writing a series of articles for Quilting Arts magazine on resists from the kitchen, so they asked me to do a segment on that. I'll cover oatmeal, instant mashed potatoes and rice cereal. I'll also tape a segment on brayer printing. Below is a sneak preview of the results from some of the techniques. No news yet on when they will air, but I'll pass it on when I know.

Circles and Squares, mashed potato resist, hand stitching

Kundalini , brayer printing, hand stitching

ArtCloth Network

2011-01-23T16:18:00.000-06:00

108 Beads by Barbara Schneider

The ArtCloth Network, a group of artists dedicated to promoting the medium of cloth as an art form, is currently having a call for membership. I've been a member since 2008 and I joined to be part of a community of other artists working in this medium. Members of the network meet annually to share what they are working on and to discuss professional concerns and opportunities. Part of the group's mission is to educate people about artcloth and one of the ways in which we do that is to produce an artcloth exhibition for members each year.

I have enjoyed the opportunity to talk with others about techniques and processes, about art-related concerns and frustrations and about approaches to creating. The annual exhibition has provided deadlines that push me to create when I might not otherwise and it has also pushed me to create work outside my comfort zone.

If you are committed to creating artcloth and are interested in joining the group, you can read more about it in the membership application and requirements.

In Class

2011-01-21T10:10:00.000-06:00

I spent last week in an Independent Study class with Jane Dunnewold. Jane holds it every January and it has become a new year's ritual for me. Many of us have been returning for 3-5 years. Everyone works on their own thing. I find it a great way to jump start the new year and it is fascinating to see what everyone else is working on. I came away with a lot of finished cloth and a lot of ideas for more! Here are some photos of the week.

Leslie Jenison shows some of her Spoonflower fabric. It was like a guessing game trying to figure out what the original photo was.

A graffiti-inspired cloth by Leslie Jenison

Linda Dawson works on her unique process for transferring color to fabric from paper.

The finished pieces

This almost-finished cloth is by Jeannette Davis. At the beginning of the week, all she had was the original dyed fabric. Everything else was done in class.

Diane Lopez displays her natural dyeing techniques. This cloth has iodine (and some other unidentified substances as well!) Diane sells her beautiful scarves at Kathleen Sommers in San Antonio.

Vivian Mahlab works on layers of screenprinting

Another piece by Vivian

This is one of my layered resist pieces - 3 layers of soy wax and immersion dyeing.

This is three layers of potato dextrin resist, handpainted

Another one of my pieces - multiple layers of Jacquard resist and acrylic medium resist

What Is It I'm Really Teaching?

2011-01-07T05:45:00.000-06:00

Another one of my wide-awake-at-four-in-the-morning ruminations. It struck me that not only does every instructor bring a different perspective to their teaching, I believe that we are really teaching something much more than is reflected in the catalog description. For example, I bet if I asked another local artist and instructor what is the essence of what she teaches, she would answer "tapping into one's creativity." Each class may focus on a particular project or technique, but she is really sharing her enthusiasm for the creative process. Another instructor I know spends hours experimenting with new techniques and doing research on materials and techniques. So she is not only an innovator, she has also developed a high level of knowledge and expertise that she is eager to share with students.

I began to ponder the essence of my teaching. I had a flash of knowing, but it is hard to articulate. I guess what I really want people to come away with is the confidence to stick with it, to work through difficulties and to be open to new possibilities. It's easy to get frustrated when trying a new technique, especially if it doesn't turn out the way you think it will. There is a learning curve to everything, and some people move through the curve more quickly than others. (I know - I'm one of the slow ones!) My hope is that participants won't be discouraged by a "failure". Failures can lead to interesting new possibilities!

Happy New Year!

2011-01-03T10:36:00.000-06:00

Don't you just love the beginning of a new year? So much hope, so many possibilities, a chance to wipe the slate clean and start over. I always feel fresh, energized, with renewed enthusisam for my goals. And yet, why do I limit these feelings to the new year? Everyday is an opportunity for a fresh start and I often forget that. One of my intentions this year (as it is every year!) is to take time each day to be in the moment, to release baggage from the past and anxiety about the future. It is a difficult goal to achieve. Sometimes I'll get through the whole day and realize I never stopped my mind long enough to just be. But I keep trying!

May you have many fresh starts this year, and many moments to enjoy the present!

January in San Antonio?

2010-12-28T11:00:00.002-06:00

How about a 3 day retreat in sunny, warm San Antonio this January? There are still a few spaces left in the Irresistible Texture workshop I am teaching at ArtCloth Studios on January 21-23.

Join us as we spend three days exploring water-based resists. This workshop is perfect for those who have been intrigued by the idea of resists, but weren't quite sure how to go about using them. Or maybe you have tried, with unsatisfactory results. You will have an opportunity to use resists made from everyday pantry items, as well as some commercially available resists. I'll also share 8 different techniques with which to apply them, so there is sure to be something for both the novice and the experienced. See the possibilities for yourself - from fresco-like texture to crisp, clear detailed images. Email me if you have any questions or would like to sign up.

Jacquard water based resist

Potato dextrin

Elmer's gel glue

Oatmeal

Flour paste, soy wax

Flour paste

Soy wax

Flour paste, soy wax

Is It Just Me?

2010-12-22T10:00:00.002-06:00

Does anyone else feel that December has slipped by? I had such high hopes for the month. I was finished with my workshops for the year and most of my major deadlines were behind me. I was looking forward to a full, unencumbered month to concentrate on my latest project. Now I find myself with a week and a half left, wondering where the month went. Maybe my expectations were too high? (Me?? Never!!)

It's hard to shake off my past - after so many years in the corporate world, the idea that doing is more important than being is hard to change. For all the time I spent working on my projects this month, I also spent a lot of time enjoying my family, admiring the new wildflower garden, watching the birds at our bird feeder, playing with the kitties, and making gifts for the holidays. I've been reading Eckhart Tolle's A New Earth each morning, and was struck this morning by the idea presented in the last chapter. It is not as important what you do, but how you do it. The simplest things take on meaning when done with full attention and awareness. Maybe I did "accomplish" a lot after all. I managed to find balance in a month that can be stressful and full of anxiety.

Whatever you have in store this week, may you also find balance between being and doing.

Prayer Flags

2010-12-08T15:30:00.000-06:00

photo by broken sphere

I've been fascinated by prayer flags from the moment I first learned of them. Typically associated with Tibet, these flags are hung outside and carry prayers - for protection, health, good fortune, compassion. Each flag is printed with a combination of text and symbols. The text may be a mantra, a sutra (excerpt from a sacred Buddhist text) or a prayer.

photo by babasteve

photo by markus koljonen

The aspect that really intriques me is the idea that as the flag becomes weathered, small pieces of the flag are carried off by the wind, spreading the prayers throughout the world. The prayers are also thought to purify and cleanse the air that blows through them. People often hang multiple flags and it is common to see both new and old flags hanging side by side. What a wonderful representation of the cycles of life, young and old side by side. An acceptance of the natural life cycle, that as something dies and decomposes, it is providing benefit and sustenance for another being.

I have created several prayer flags this year. My interpretation is quite different from the traditional version. The first had no text, only symbols I created to represent my prayers for the world. The second set has no symbols, only text. They both carry prayers for peace, joy, love, compassion and health.

This flag was made from hand-dyed linen that was then brayer printed. A small bit of metal leaf was added to each piece.

These flags are made from silk/cotton voile. I used the technique from Vibrant Color, I added powdered dyes to soy wax and applied that to the fabric, then handpainted over it. The prayers are screened in metal leaf.

Grits are Great!

2010-11-30T16:01:00.004-06:00

After I blogged about oatmeal a few months ago, Gay Ousley commented that grits made a great resist. Grits aren't something I keep in my pantry, after a disappointing experience eating them a number of years ago, so I filed that information away for "someday". Then I saw a recipe in the newspaper a few weeks ago for cheesy jalapeno grits. Hmmm - cheese, butter, jalapenos - how could that be bad? So I decided to try them - for breakfast and as a resist.

Now I am a full blown grits convert. Not only was the breakfast casserole great, I loved the pattern they created on cloth. I had no idea what sort of water to grits ratio to use, so I tried two versions on one piece of cloth. The left side was 1 package instant grits to1/4 cup water. The right side was 1 package instant grits to 3/4 cup water. I love them both. Thank you, Gay for the suggestion! So, I see I need to do some more experimenting with grits. Off to the store, because I finished the last of them for breakfast!

Update 1/10/11 - The link to the grits recipe is no longer valid, so by request, I have included the recipe below.

Cheesy Jalapeno Grits (recipe from the San Antonio Express-News)

2 cups quick cooking grits
1 1/2 cups sharp cheddar cheese
1 stick unsalted butter
3 teaspoons Tabasco sauce
3 large eggs, well beaten
2 jalapenos, finely diced
1/4 cup chopped canned green chiles
Garlic, salt to taste

Heat oven to 350 degrees. Cook the grits according to package directions. Remove from heat and add remaining ingredients. Stir well. Pour into buttered 9 inch baking dish. Bake for 1 hour. Cool slightly before serving.

I've omitted nutrition information. You really don't want to know!

Thanksgiving

2010-11-25T13:17:00.000-06:00

Another Thanksgiving Day. Rather than the typical dose of turkey, potatoes, stuffing and family, I usually spend Thanksgiving in the studio. For the past 6 years, my husband has had to work on Thanksgiving, so I have started my own tradition. It seems appropriate - what more to be thankful for than a day alone creating? I usually take a more relaxed pace on this day. Yes, I work in the studio, but I take a break to play with the kitties and read the paper. Today, I spent some time admiring our new wildflower garden. We planted it a few months ago and the weather has been so warm, the flowers are blooming!

Now don't feel sorry for me, we had our Thanksgiving feast yesterday. And boy it was delicious. So now, while my husband works, I get to have lots of leftovers. (Don't feel sorry for him, either. His employer treats him to a Thanksgiving meal at a very nice local restaurant.)

I'll take a pass on reciting a list of all that I am thankful for. Somehow it ends up sounding trite. I'll just wish you all a happy Thanksgiving and a very enjoyable day.

Layered Screenprinting

2010-11-22T12:50:00.000-06:00

Last weekend I taught a class on screen printing at the Southwest School of Art in San Antonio. It's a fun class that covers some of my favorite techniques. I know, I know, I say that about every class. I guess I just don't sign up to teach techniques that I don't enjoy doing.

Anyway, the class focused on multiple layers of screen printing with dye and the use of resists to block out white space. We also layered sheer fabrics on top of each other so the printing would penetrate both layers. The great thing about working with thickened dyes is that the fabric stays soft, and it's fun to see how the colors blend and interact as they are printed one on top of another.

We used soy wax and gel glue as a resist directly on the fabric and on the silkscreen. We also used masks, such as shredded paper, leaves, masking tape and freezer paper stencils to create a pattern on the fabric.

I'm doing another class in January by special request. If you are intrigued by the photos below and are interested in taking the workshop, let me know and I'll keep you informed of the dates.

Screen printing with soy wax on the silkscreen

Multiple layers of screen printing with soy wax on the fabric and on the screen

Screen printing with shredded paper under the screen

Multiple layers with freezer paper masks

Adding background color

Multiple layers of printing with gel glue resist and a sequin waste stencil

Adding a leaf to round out the design

Just Have Fun

2010-11-07T09:56:00.000-06:00

I'm back from a whirlwind trip to the Quilt Festival in Houston. This was my first time teaching. I had two demos and three classes, so it was pretty hectic. I spent the previous two weeks creating handouts, boxing up my supplies (all 14 boxes), making fabric samples and trying to stay sane.

When I arrived for my first class on Thursday, I was a bit frazzled, having just driven the 3 hours from San Antonio, and unloaded everything into the teacher's room. After I set up for class, I had some extra time, so I sat quietly to try to center myself. As I did, a voice in my head said "just have fun." I smiled and realized, "Yes! I don't need to worry about anything - I love what I do and I'm here to share that with others and enjoy it!" My perspective shifted in that instant. And I did have fun. It was exhausting, grueling and hard on my feet, but it was also exhilarating, inspiring, and a blast!

I met so many wonderful people, saw some amazing quilts and got a boost of creative inspiration. I'm going to stay on that high for today. Unpacking all those boxes can wait until tomorrow!

Transforming Fabric

2010-10-31T16:00:00.002-05:00

I've been creating some samples of brayer printed fabric for a demo I'm doing at the Quilt Festival in Houston this week. I've always loved the patterns you can get, but I never before thought about using brayer printing to transform my fabric "duds". It's amazing how different the fabrics look after brayer printing.

Before: Interesting patterning, but not my colors

After: Much more interesting surface and a more subdued palette!

Before: A soy wax experiment gone wrong

After: The squiggles are hardly noticeable, and the new patterning and color are a big improvement.

Before: Nice colors, but the double mandala was not effective.

After: How did I get one focal point out of that? Amazing.

If you are going to the Quilt Festival, maybe our paths will cross. (Sure, among the many thousands who will be there, right?!) The brayer printing demo is part of the Friday Morning Sampler, which is full, so if you can't stop by then, look for my article on brayer printing in the Dec/Jan issue of Quilting Arts.

Back to Earth

2010-10-23T08:00:00.001-05:00

It's been awhile since I last checked in. Of course I have a great excuse - it's been a crazy few weeks. This weekend I am co-teaching the Vibrant Color soy wax class with Jane Dunnewold. Last week I worked on hanging the Fiber Artists of San Antonio (FASA) annual exhibition and the week before I spent 6 days in the fourth session of the Artcloth Mastery Program. And in between all that I have to get ready for the classes I am teaching at the Quilt Festival in Houston. I just have to remember to breathe!

A little plug for the FASA exhibition. It has a wide variety of fiber art from artists throughout Texas. The work represented runs the gamut from quirky to deeply moving, from beautiful to fun, from innovative to opulent. Below are just a few of the pieces in the show. (Details about where, when, etc. are below the pics.)

Twenty- First Century American Sampler, Kate Martin

Fission, Laura Ann Beehler

Merge Algorithm, Jean Dahlgren and Ruthie Powers

Diversity-Tolerance, Lana Book

If you would like to see the exhibit, it is at the Gallery Nord, 2009 NW Military Highway, San Antonio, TX through November 5, 2010. The gallery is open Wed-Sat from 12-5.

More Vertical Lines

2010-09-24T09:00:00.001-05:00

Yesterday I received a package in the mail. It was a piece of artcloth I created in 2007 for the Surface Design Association exhibition. It's been on the road in a traveling exhibit since then. I didn't take a photo of the piece before I sent it off, so I had forgotten what it looked like. It was interesting to have this piece of my past suddenly enter my life.

In some ways it seems so different from what I am doing now, yet I see some similarities, too. It is from my "screenprinting period". For about 2-3 years I did no immersion, I only screenprinted with dye. I really enjoy that technique and created some of my favorite pieces during that period.

What I hadn't really noticed before were the vertical lines in the piece. The vertical lines are not as strong of a design element as in some of my current work, but I do see a vertical component. That made me think that my current focus on vertical lines isn't really new - it's just more of a conscious effort. And that thought leads to the whole idea of artistic style. I've given a lot of thought to that issue over the past two years. What is it that defines an artist's work? What is it that connects two works of art so we know they are created by the same artist? How do we create a balance between creating fresh, exciting work, yet still maintaining a distinctive style? I'd love to hear your thoughts on this.

Vacations

2010-09-20T08:00:00.004-05:00

This year I took two vacations, within two weeks of each other. And I'm here to tell you that vacations are an important part of keeping creative.

I can easily become obsessed with the projects I am working on. I'll wake up at 3 in the morning, my mind racing with ideas. Usually when that happens, I just get up and start working - I know I won't get any more sleep! In my old career in the corporate world, I considered myself somewhat of a workaholic, but that's just who I was. I figured it would be different once I gave up that lifestyle. Imagine my surprise when I realized earlier this year that I am just as driven about my art. Hmmm, some things don't change.

I don't believe that type of drive is a bad thing in itself. It represents a passion for what you do. I think it becomes detrimental when it takes over your life. When you can't stop the chatter in your brain long enough to enjoy the fall breeze, or the migrating hummingbirds, it's time for a break.

My vacations were both short - four days each - but I left my work behind. No email, no deadlines, just enjoying myself with my family. And I came back with lots of ideas to keep me awake at night! A lot more ideas than I'll ever have time to act on.

When was your last vacation? Is it time for another?

The Sacred Art of Altars

2010-09-16T10:00:00.002-05:00

Time once again for the Seventh Annual One People, Many Paths: Sacred Art of Altars Exhibit sponsored by the Celebration Circle. The exhibit and silent auction features 55 altars by San Antonio artists. We each started with the same hand-built wooden altar and created our version of the sacred.

The show is on display throughout September inside the lobby of the Bijou Theatre at Crossroads Mall. The exhibit will end on September 30, with the reception and final bidding from 6 pm to 9:30 pm. You can view the altars and place a bid anytime during normal business hours, 11:00am - 10:00pm.

The altars this year are absolutely fabulous! If you can't make it to the show, or if you want a sneak preview, look at photos of the altars on flickr. I used some batiked paper for my altar this year. I've been experimenting with using soy wax mixed with fiber reactive dyes on paper. Very interesting results!

For more information about Celebration Circle or the event, visit their website.

Featured Artists Include:

Jane Appleby, M.D., Zet Baer, Michelle Belto, Ana Maria Berry, Laurel Bodinus, Momo Brown, Pam Bryant, David Caris, Massie Center, Hebron Chism, Suchil Coffman, Dinah Coakley, Sue Cooke, Jamie Damon, Susan Damon, David Elizondo, Sheila Fitzpatrick, Dana Fossett, Joan Frederick, Dimitri Garcia, Laurel Gibson, Sam Gonzalez, Kat Gustafson, Rudi Harst, Dale Jenssen, Zach Jewell, Deborah Keller-Rihn, Lisa Kerpoe, Mark Kohnitz, Charmaine LaBold & Keith Creel, Tim Lapping, Sharon Legg, Naomi Leissner, Jaime Martinez, Nancy McGalliard, Jai Medina, Beverly Meyer, Kathleen Messina, Susie Monday, Cindy Palmer, Ray Palmer, Cynthia Phelps, Rachel Rainwater, Thom Ricks, Mark Rue, Regina Sanders, Randy Schwartz, Sharon Shelton-Colangelo, Tirso Sigg, Jodi Stauffer, Daniel Stoneham, Rebecca Coffey, Julie Troilo

I hope to see you at the reception on September 30th!

Fat Quarter Studies, Part 2

2010-09-12T07:37:00.003-05:00

I've been working on the rest of the fat quarter studies as part of my artcloth mastery class assignment. These are a series of 8 pieces in which I am using a similar composition, trying different techniques to decide what I want to do for a series of larger pieces. All of the pieces incorporate the use of resists and handpainting. All of these need a bit more work - some just a little touch of metal leaf, some a lot more! But, it's time to put them aside for now and start on the larger pieces.

Below are photos of the remaining five pieces in the series. I posted photos of the
first three a few weeks ago.

This is my favorite of this batch. I used a potato dextrin resist on silk/soy fabric, along with handpainting and discharge. I'm planning to add a little metal leaf as well.

This piece started with a sugar resist on silk/soy, painted while wet, followed by a flour resist. To create additional depth in the background, I added a few layers of handpainting with thickened dye.

This is silk broadcloth, with potato dextrin brushed through a plastic grid, then handpainted.

This is another silk/soy with a sugar resist.

This started with soy wax resist, then several layers of handpainting. This still needs a bit more. I have some ideas, just not enough time!

Vibrant Color is Finally Here!

2010-09-07T08:00:00.003-05:00

We had a few production delays, but the new DVD I'm doing with Jane Dunnewold has finally arrived. In it, Jane and I demonstrate three processes for adding MX fiber reactive dyes to soy wax. It all started a couple of years ago when Jane began to experiment with creating soy wax dye crayons. I helped her out with the testing, and then we started talking about adding dye to hot wax. And things just took off from there.

For more info about the DVD or to order, visit the store at artclothstudios.com.

The dye crayons are great for drawing or writing directly on the cloth. They also work well for rubbings to create unique pattern and texture.

The hot wax application is one of my favorites. You get the benefit of the color in the dye and the resist properties of the wax. After applying the hot wax/dye mixture, it will act as a resist when the cloth is overdyed or handpainted.

The wax paste is a creamy texture that works perfectly for stenciling or brushing directly on the fabric. The nice thing about the paste is that you can achieve the exact amount of coverage you want. You can apply it so that it is a solid, opaque image, or you can let some of the underlying fabric show through. It is also easy to blend multiple colors.

If you've seen the DVD or have experimented with some of the techniques, I'd love to hear about your experiences.

New Work

2010-09-04T10:00:00.001-05:00

I just finished two pieces for the latest ArtCloth Network exhibition. Els van Baarle is the juror and we'll know in mid-October which pieces are accepted.

My pieces are inspired by my continuing fascination with humans’ tendency to focus on anything but the present moment. We often spend most of our time either anticipating a date in the future or reliving a day in the past. It may manifest as remembering happy times or feeling regrets over what we did or did not do. Or we may spend time worrying about something that may (or may not!) happen. Many of us find it difficult to focus on the current moment – to give our attention to the people and circumstances that currently surround us. These pieces represent my own journey, my quest to move from marking time until a future event to living in the present and fully enjoying this moment.

My vision was to use two pieces of cloth that complement each other and represent the dichotomy of these two ways of being. I used silk noil and incorporated soy wax resist with multiple layers of dyeing, discharge and overdyeing. I also added some handstitching and metal leaf.

Marking Time

This Moment

Old Habits Die Hard

2010-09-01T08:00:00.000-05:00

If you follow my blog, you'll know that I am trying to reduce my dependence on silkscreens and thermofaxes. So I didn't plan for any screenprinting on two pieces I am creating for the ArtCloth Network exhibition. But one of the pieces needed a little something, so my solution was a thermofaxed image. I had just the image in mind. I drew it and rushed off to the studio to make the thermofax.

The machine seemed to be working fine, but the image didn't burn into the screen. A moment of panic, then I realized I must have had the wrong side against the paper. Try again. Still not working! Hmmm. It worked fine a few weeks ago. Maybe there isn't enough carbon in the photo copy. Oh no, now what? I could make a stencil. I know, I'll draw it with india ink. That works instead of a copier to burn a thermofax.

So I brushed my design on paper with india ink. Ran it through again. Still not working. Panic set in again. I have to get this finished by tomorrow! .......Then the irony of it all hit me. I said I wanted to limit my use of thermofaxes and what is the first thing I turned to under stress? But the Universe was teaching me a lesson. "You really want to focus more on painting directly on cloth? OK, I'll just take care of the temptation from that nasty thermofax machine."

So I steeled my nerves, took out that big beautiful $20 paintbrush I've been saving for something "special", and started painting. The design was very simple, so why did I even think I needed a thermofax? That old fear that I will screw it up came creeping back in. With a thermofax, one can practice, test it and figure out exactly what it will take to get a perfect image. But with handpainting, there's a good chance it won't be "perfect". As I struggle with my perfectionist handcuffs, I am coming to accept and appreciate the "imperfection" of a hand painted image.

I See a Pattern Here...

2010-08-29T10:00:00.001-05:00

When I came up with the idea of doing a series of pieces all with a similar vertical line composition, I thought I was doing something very different from my other work. But then I became more aware of the composition of some of my pieces from earlier this year.

Hmmm, I guess the vertical lines aren't so new after all.

After I noticed this pattern, I wondered what it was that drew me to the vertical composition. I see the vertical line as a symbol of growth, of a connection between the physical and the spiritual, between the earth and sky. It also represents the chakras and the energy that moves up through our body, keeping us grounded to the earth and also connected to Spirit. To me, the vertical line also represents a moment in time - this moment, which is all we really have.

What does the vertical line represent to you?

Fat Quarter Studies, Part 1

2010-08-26T08:00:00.012-05:00

I've been working on fat quarter studies in preparation for my assignment in the ArtCloth Mastery program. I have about 8 pieces in process right now. My plan is to use a similar composition style for all of them, incorporate a variety of resists and do color studies with intensity and complements.

First, I have to say I am having a blast! This is a whole new world for me - handpainting directly on the cloth - no silkscreens or thermofaxes. My original inspiration came from Helen Frankenthaler. One of our assignments for the last class was to prepare a presentation on an artist. Then I studied other artists from the same period. I felt drawn to make marks on cloth with my own hands (and the use of some tools!) rather than relying on stamps, stencils and silkscreens.

I was talking with a friend (and artist) the other day about her current project. She has been having a difficult time finding just the right imagery for her project. She has spent hours researching and working with photoshop. I know exactly how she feels, because I've gone through that numerous times. As we talked, I realized how free I feel working on this series because that is not an issue.

Here are photos of the three pieces that are "finished". Not in the ready-to-hang sense, but in terms of any dyeing, painting, etc.

Zip I

This is silk broadcloth. It was inspired by Barnett Newman. His work features vertical lines, which he calls "zips". He tends to use more solid colors, but I wanted to create a softer look. No resists on this one, other than the masking tape. But I'm thinking of a redo, using sodium alginate as a resist.

Fault Line

This is a silk/soy blend. Great fabric available from Thai Silks. The silk side is satin, the soy side is similar to a broadcloth. Because of the blend, the colors are different on each side. I started with a flour paste resist, then mixed up red in four intensities and used a credit card to scrape the color onto the cloth. This one is my favorite so far.

Stability Amidst Chaos

This is silk broadcloth. I started with soy wax to block off the circles in a vertical line. Then I used flour paste brushed on in circles to create the texture in the background. Then several layers of hand painting with blue and orange dye and just a touch of copper leaf.

Five more in the works - I'll post more as I finish them.

Everybody Needs a Little Lovin'

2010-08-23T08:00:00.013-05:00

Every morning as I work at my computer, our youngest cat, Babs, comes wafting in with a pathetic "eeeyooo". She walks by, gently brushing my legs with her soft fur. That's my cue that it's time to pick her up and hold her like a baby. She "assumes the position", with paws up, head back, waiting for me to stroke her face and scratch her chin.

This all started about a year ago. As she got older and heavier, it hurt my arms to hold her for very long. So I came up with a new way to hold her - like a baby, with her weight resting on my lap. It quickly changed from something I did on occasion, to something she required daily. We have come to call this daily ritual "Babs getting her 'mornin' lovin'."

It isn't just limited to the morning, however. We have learned that if she is acting up and getting into things, she just needs a little lovin'. Babs scratching the sofa- give her some lovin'! Babs knocking things off the table - give her some lovin'! Problem solved instantly.

The other day, my husband came home complaining about a crabby woman he had encountered that day. She was yelling at everyone, family, strangers, whoever came into her path. I jokingly blurted out, "she just needs some lovin'!" And then I thought maybe there really is something to that. Doesn't everyone need a bit of attention, to feel loved and respected? Can you imagine what the world would be like if we all had a little "lovin'"?

Now stop snickering - I'm not talking about anything X-rated. Just a little attention and affection. Think about your morning routine. It's so easy to get caught up in the chaos - rushing around, watching the clock, doing chores, making lunch, etc. Do we give our loved ones our complete attention? Do we let them know how important they are to us? Maybe just the simple act of being truly present with another person for just a few minutes could change the course of their day.

So, here's my challenge to you this week, should you choose to accept it. Make a point of "giving lovin'" throughout the day. Give people your complete, undivided attention. Let those who are important in your life know how you feel. And let me know what happens!

My Latest Project

2010-08-20T03:30:00.000-05:00

I'm a bit behind on the cloth I need to finish for the next ArtCloth Mastery Program session. We are supposed to create a series of 4-6 pieces of artcloth. Of course, I have all kinds of good reasons for not starting before now. One of the main reasons is that, up until 2 weks ago, I did not have a plan. All I knew was that I wanted to incorporate hand painting. I finally had a brainstorm as I lay awake one night.

I've been focusing a lot on design and composition since I started my daily design practice last fall. (Actually it was more of a weekly practice, but that's another story.) I've always taken an intuitive approach to composition. But since I don't have a formal art education, I figured it was time for some "book learning". I've been reading and doing a variety of small design and composition studies to translate the book learning into experiential learning. I have also managed to incorporate design concepts into each of the classes I taught this year.

Through my design work and research on other artists (I've focused on the abstract expressionist movement) I find I've been drawn to vertical compositions. I used that approach for one of the pieces I created for my last series, The Best Season, and I was really pleased with the end result.

So, I decided that I would use a vertical composition for all the pieces in my next series. There are a few other things I want to accomplish with this series, so here's my plan:

All pieces will have a vertical composition
All pieces will incorporate the use of resists
All pieces will be primarily hand painted with minimal to no use of silkscreens
Each piece will be a color study, incorporating either complements, or some color scheme based on color wheel relationships

I have started doing a series of fat quarter studies and then I will start on the larger pieces. Stay tuned for photos as I work through the small studies.

Potato Dextrin Resist

2010-08-16T11:00:00.001-05:00

I've been working a lot with different resists over the past few years and wanted to revisit potato dextrin. I first used it about six years ago and loved the crackle pattern it produced. I have also experimented with mashed potato flakes, because they are inexpensive and easy to obtain - no shipping charges! I've been using flour paste to get a crackle pattern lately, so I wanted to play around with the dextrin again.

Below are a few photos from my experiment last week. For the mashed potato flakes I used about 1/2 cup potato flakes to 1 cup hot water. For the dextrin, I used about 1 1/3 cup dextrin to 1 cup hot water. I spread the paste on with a squeegee and used the sgraffito technique to scratch into the wet paste. After the paste had dried, I applied thickened dye.

This shows the mashed potato flakes using the sgraffito technique. I scratched into it with a bamboo skewer and placed a lace doily, bubble wrap and a rubber rug gripper on for texture.

Another example of mashed potato flakes applied with a squeegee.

This is potato dextrin, applied with a squeegee and then I embedded objects in the moist paste to create pattern and texture. I didn't get the nice crackling I expected, nor much patterning, but I blame my impatience. I applied the dextrin while it was still hot. It needs to cool somewhat before using so it thickens properly. It went on as a very thin coating, which didn't crack much when dried.

This is also potato dextrin. I stamped it on and applied it with a brush. I had forgotten how well it works as a resist when stamped onto the fabric.

I am currently doing some fat quarter studies, layering different resist techniques. This is one of the studies using potato dextrin. I brushed the dextrin through a large plastic grid. I left the grid on until the dextrin had partially dried. Very interesting! Today I'll work on the next layer of color.

What Do You See?

2010-07-28T13:59:00.000-05:00

I've been intrigued lately with the research indicating that we tend to discount facts and data that contradict our beliefs. We like to think we are open-minded, but we tend to dig in our heels and stick to our position. We tend to see what we want to see and hear what we want to hear. It seems like every few months there is a story on the radio about new research or a new book on the topic.

I faced it first-hand recently. A friend of mine uses a different technique for dyeing fabric than I do, and she feels she gets more vibrant colors. She decided to do a side-by-side comparison of the two methods. I didn't really feel that I was tied to my way of doing things. I was interested to see the results, to see if it was worth trying her technique. She showed me the the samples, and just as I was thinking, "Hmm, not really that much difference between the two. I guess it doesn't really matter." she said something like, "So you can really see the difference - how much brighter the colors are with my method." My first thought was that she was so attached to her method, she saw what she wanted to see in the samples. She believed her method produced more vibrant colors, so that's what she saw. And there probably is some truth in that, but I was doing the same thing. When I first looked at the samples, I did see a difference, however it didn't seem significant to me. Not significant enough to change the way I was dyeing. So then my brain ignored the difference that was there.

It just amazes me that we were both looking at the same "facts", but we each saw something different. I like to think I'm open-minded, but I see how easy it is to get caught up in that way of thinking. So the question is how to remain open to new information. I suppose awareness of these tendencies is a good place to start.

Fear

2010-07-22T15:21:00.000-05:00

I had one of those flashes of brilliance a few weeks ago. You know - you're lying awake at 3 in the morning and all of a sudden you get a great idea. Lately I have been uninspired as far as creating goes. I've been putting so much energy into creating and teaching workshops that I haven't made studio time for myself. And the less time I spend in the studio, the fewer great ideas I seem to have.

So, after a dry spell, I was excited by my 3 am musings. I was out of town at the time and couldn't wait to get home to try out my ideas. But when I got home, there never seemed to be time. Every day something else seemed more important, or at least more urgent. It finally hit me that my procrastination wasn't due to lack of time, it was fear. I know it sounds strange, but I was afraid to try out my idea. I think it's because it sounded so great and had such interesting possibilities, I was afraid I would try it and it wouldn't live up to my vision.

When I realized what I was doing, I made myself go to the studio and play with my idea. I had a blast! I'm not completely pleased with the results, but I think a little tweaking will do the trick. So, lesson learned. Sometimes you just have to jump in. You'll never know if an idea will work unless you do.

Oatmeal on Cloth

2010-07-16T14:00:00.004-05:00

Last week I created some samples of cloth using oatmeal resist for a demo I'll be doing later this year. I've done a lot of work with oatmeal, but I wanted to have a complete set of samples showing how altering the variables affects the cloth. After creating these samples, I have a renewed enthusiasm for oatmeal.

I started working with oatmeal as a resist about 5 years ago. It's a little more involved than flour paste, but it creates a very distinctive pattern. It is also very versatile. You can achieve vastly different patterns depending on the ratio of water to oatmeal, whether you let the oatmeal dry or not before handpainting and whether you handpaint or immerse. Below are photos of a few of my samples.

Oatmeal on silk

Hand painted while the oatmeal was still damp

Oatmeal applied with a spoon. Looks kind of like popcorn, doesn't it?

Immersed instead of hand painted. If you look closely you can see the paw prints where my cat

jumped up and did "the slide".

Color Studies

2010-07-09T18:00:00.001-05:00

I've been so focused on my summer workshops, I haven't spent much time in the studio working on my assignments for the ArtCloth Mastery Program. The little I have done has been centered on color studies.

I used soy wax and gel glue as a resist, then handpainted on thickened dyes. I'm still intrigued by the low intensity colors you get from mixing a color with its complement, so that was my focus. I worked with the 12 primary, secondary and tertiary colors to create intensity studies with each. Below are a few of my samples.

The Softer Side of Art

2010-07-02T16:18:00.011-05:00

A fiber exhibition featuring artists from South Texas and the Hill Country opened Thursday at the Kerrville Arts and Cultural Center. The exhibition features work in a variety of media, including art quilts, figurative sculpture, basketry, weaving, artcloth and stitching. Below are a few photos from the exhibit. Please join us for the reception on Saturday, July 17th from 1-3 pm.

Weaving by Letitia Rogers

Figurative sculpture by Linda Rael

Three dimensional mixed media sculpture by Lana Book

Woven basket by Mary Lee Tennant

Artcloth by Lisa Kerpoe

Just Say No

2010-06-29T21:37:00.004-05:00

Looking at my calendar the other day, I was feeling overwhelmed by all the deadlines and obligations. Most of them are things I have already committed to. And most of those are important, either from a financial or potential opportunities perspective, or simply because they are enjoyable. But one stood out. It wasn't something I was looking forward to, it wouldn't really benefit me, and my absence would not have been a detriment to anyone else. I should have said no.

There comes a point when one has to decide which teaching venues, exhibitions and speaking engagements will further one's goals. I have a tendency to say yes to everything that comes along, but I realized I just can't keep it up. (Took me a long time to figure that out!) I had planned to enter a few exhibitions in the fall requiring new work, but I have decided not to. They aren't really that important to me and will only distract me from other, more important activities. My new mantra is "just say no". So if you're thinking of asking me to get involved with something new - you just might want to wait a little while before asking. I've been practicing my "No"!

A Day in a Film Shoot

2010-06-27T16:30:00.001-05:00

I spent last Monday in a film shoot for a new DVD collaboration with Jane Dunnewold.

The DVD, Vibrant Color: Combining Soy Wax and Dyes for Brilliant Results, focuses on three techniques for adding MX dyes to soy wax. It was my first experience creating a DVD, but Jane is a pro at this. She makes it look so easy!

I spent the previous week organizing my thoughts and materials. Actually it wasn't too much different from preparing to teach a class. Create an outline, gather supplies, make samples.

The one thing that was different is I found myself obsessing about what to wear. Those of you who know me, know that I am not exactly a fashion maven. I wear pretty grungy clothes when I teach. And even when not teaching, I don't really get too concerned about what to wear. But somehow that didn't seem appropriate on camera! And then the day before the filming, a friend of mine said something about makeup. "Makeup! I need to wear makeup?!!" I haven't worn makeup since leaving the corporate world behind 12 years ago.

Well, those things all sorted themselves out and we were ready to begin. James Sanders, our video producer, was a pleasure to work with. He has filmed a lot of programs for the local PBS station. His easygoing style made me comfortable and I know he's going to do a great job of editing and production.

We hope to have the DVD out by the end of July. I'll post more info and a preview later. Below are some photos from the film shoot.

Jane's makeup session

James and his assistant, Josh, getting the camera and microphone set up

The newest studio cat had a great time playing with the cords and tripods.

Getting the shot just right

Pretty Girl, one of the studio cats, is getting bored. Let's get things moving!

Now we're rolling!

Itty Bitty's all tuckered out with all the excitement.

Economy as a Design Principle

2010-06-23T15:52:00.002-05:00

I've been very intrigued lately by the concept of economy in art. It's the idea that a piece of art has only what is necessary to convey the desired message or meaning. No extra lines, colors, shapes, images, layers.

I think I am drawn to it because I tend to keep adding more and more layers to a piece. Sometimes when I'm not really sure what is needed, I just do something. I am good at ignoring that voice of intuition that says, "No! Don't touch it! You're not sure about adding that screenprinted image, so don't do it!" I often do it anyway, and it may not detract from the piece, but it doesn't really move the piece forward, either. And sometimes it turns out to be a disaster (like a piece I worked on last week - more on that later).

I think it also ties back to working with intention. It is easy to lose focus, to be unconscious of how each layer, each step, each printed image or handpainted color effects the final piece. Sometimes it's a matter of being lazy and not wanting to take the time to test an idea first.

That's how I created a disaster last week. It was on a piece that was almost finished. It had been committed to an invitational exhibition and I was just finishing up a few details. I decided to add gold leaf, but didn't have the proper tool to achieve what I wanted. Instead of waiting until I got the tool, I tried something else. Of course, I didn't test it on a scrap to see how it would look. Well, it was really awful. It did detract from the piece. Fortunately I was able to save it with a few additional tweaks and now the piece looks great. The final product actually did accomplish what I had envisioned - I just took a bit of a detour to get there. Sure, I received the end result I wanted, but it was a bit hard on my nerves!

I'm consciously trying to incorporate the idea of economy into my work now. Being intentional with each step, each mark, each color. Being conscious of whether or not it will move the piece forward, or just be extra "noise". Listening when my intuition says, "Stop - come back to it tomorrow." I can't say that it's not challenging. I can easily fall back into old patterns, especially when working under a deadline. But hey, I love a challenge.

A New Acquisition

2010-06-22T07:32:00.003-05:00

I recently purchased an encaustic painting by Michelle Belto. Michelle is a local artist who creates her "canvas" with hand-made paper. She then paints on top of it with layers of colored beeswax. I was entranced from the time I first saw her work at The Circle Squared, her solo exhibition last fall. Each piece was beautiful. The layers of wax create a rich surface with a lot of depth.

I loved all the pieces from the exhibition, so I had a hard time choosing one. The one I finally decided on, Mandala, spoke to me with it's simplicity. I also love the texture and dimension. I am so excited to have this beautiful piece in my home!

If you'd like to see more of Michelle's work, check out her website.

"Vibrant Color" Soy Wax Techniques

2010-05-25T14:25:00.002-05:00

I'm really excited about some new ways to use soy wax. Jane Dunnewold and I have been experimenting with several techniques that involve mixing fiber reactive dyes with soy wax. For the past year and a half, Jane has worked on a recipe to create dye crayons. I initially got involved last summer by helping her test the crayons.

Jane has perfected the recipe and is marketing a soy wax blend so artists can make their own dye crayons. The soy wax crayons are perfect for drawing, writing and creating rubbings from a variety of textured items. The dye in the wax forms a permanent bond with the fabric and the excess dye easily washes out in the washing machine.

We also experimented with adding fiber reactive dyes to hot wax. I am particularly intrigued with the dye/hot wax mix. The color in the wax penetrates the fabric and the wax acts as a resist for overpainting with dye. It results in vibrant color and creates a look that is not possible with any other technique.

We have also formulated a recipe for a soy wax paste that is perfect for stenciling. It gives a softer look and allows greater control than applying thickened dye through a stencil. Refining these techniques took a lot of experimentation. Just mixing the powdered dyes with the wax gave unsatisfactory results. Now, after perfecting the techniques, we have collaborated on a DVD and workshop to introduce the process. Our first workshop was last weekend in San Antonio. Below are some photos.

The next workshop will be in San Antonio in October and the DVD is scheduled for release in July. Stay tuned for more photos as we continue to refine these techniques.

Update 6/1/11 - We now have both a book and a DVD available on the techniques. See my website for more information.

Working with Intention....Or Not

2010-05-13T08:09:00.005-05:00

I've been in a number of conversations this year with other artists, talking about the variety of ways in which we work. A subtle thread that I have noticed is that most people think the way they do it is the "right" way. I suppose I shouldn't be surprised - don't most of us think our way is best?

I have always been a strong believer in setting an intention for a body of work and then working toward that intention. Usually my intention revolves around a theme or creating a certain feeling. I don't usually draw sketches or plan the entire piece - I have a general idea where I want to go and then let the cloth and my intuition guide me as it evolves. It was easy for me to think that my way was superior, because I was working with intention rather than just letting it happen. And someone who works in a more spontaneous approach could easily feel their way is superior because it is more intuitive and free.

Earlier this year I came to realize the value of working in a more spontaneous manner. I worked on several pieces that did not start with a theme or focus- I was playing with color and technique. I realized how freeing that was and how much I enjoyed it. I found that working more loosely helped bring out my creativity and led to inspiration on my "intentional" pieces. It brought me back to my watercolor days, when my favorite way to paint was to put on music, grab some brushes and just paint.

I used to see it in a black and white way - some people work with intention, others don't. I have come to see it as more of a continuum with those who work very serendipitously with no "plan" at one end and those who draw sketches, make mock-ups, etc. at the other end. And many of us fall somewhere in between. I guess I have come to value all ways of working. No way is better than another. And I now like to vary my approach, depending on the project. It is up to us to find the approach that brings out our creativity and honor others, whatever their approach.

Fiber: A Closer Look

2010-05-02T07:00:00.001-05:00

Laura Ann Beehler and I are curating a fiber exhibition this month at the San Antonio Visual Artists' (SAVA) gallery. The invitational exhibit of Texas fiber artists represents a range of artforms including art quilts, wearable and functional art, 3 dimensional sculpted fiber, artcloth, basketry and weaving. Fourteen Texas artists are featured, including Jane Bishop, Laurie Brainerd, Jane Dunnewold, Martha K. Grant, Caryl Gaubatz, Leslie Tucker Jenison, Lisa Mittler, Susie Monday, Susan Oaks, Linda Rael, Letitia Rogers, Linda Sura, Laura and I.

I hope you will join us for the opening reception on Thursday, May 6. The reception is from 6 to 8 pm and the gallery is located at the RiverCenter Mall, Suite 205 (near the Commerce Street entrance).

Below is a sneak preview of some of the items in the exhibition.

Making Marks

2010-04-28T17:02:00.001-05:00

This week I started experimenting with making marks. I chose a variety of brushes and other tools and played around to see what kind of marks they would produce. I was inspired by a friend of mine who took a strip of rubber and was able to come up with 15 different types of marks. This is all part of my desire to work directly on the cloth, rather than relying on screenprinting.

This concept of making marks isn't completely new to me. I have used it often with black paint on paper to come up with images that I could turn into a silkscreen, stencil or thermofax. This time, I am using thickened dye on fabric, to get a better understanding of what each tool can do.

I started with some basic brushes - a large round watercolor brush and a large square brush.

Then I moved on to a paint roller and some ice tongs.

A spring whisk and window chamois make interesting marks.

My favorites are a putty knife...

a rubber spatula...

and a wire whisk.

I'm running out of tools to try - time for a trip to the thrift shop!

From Hand to Cloth

2010-04-23T09:12:00.004-05:00

I feel I have been in a surface design rut the past few years. I have a lot of surface design techniques in my repertoire, but I tend to rely heavily on just a few. I have focused a lot on screenprinting and I really enjoy it, but this year I have felt drawn to applying dyes and paints directly to the cloth.

Reading about the artist, Helen Frankenthaler, started this shift in thinking. She uses thinned paints and applies them to canvas using a variety of non-traditional tools. The idea of creating directly on cloth appeals to me now. I haven't done much of it, mostly because of that nasty perfectionism thing. A hand painted mark has a lot of variation. One time it might look great, another it might not. In the past, I have mostly chosen to take a more controlled approach by creating thermofaxes and silkscreens.

I started playing with this a bit in the ArtCloth Mastery class last week. The above photo is one of the small pieces I created in class. I really enjoyed the process and I'm pretty pleased with the result. Over the next six months, I am allowing myself to experiment with applying paints and dyes directly to the cloth. It's a little scary - having to rely on the inherent imperfection of the human hand. But I'm looking forward to working in a freer, more spontaneous way.

Artcloth Mastery Program, cont'd

2010-04-19T09:50:00.005-05:00

After six days in class, I feel discombobulated. I had planned to publish more photos of the work class participants had completed. Unfortunately, my computer somehow lost the photos I downloaded from last week (it couldn't be operator error, could it?!). All I could find was the above photo of Jeanne Sisson's tribute to Gustav Klimt. So, instead, I'll share some of my insights from the week.

It was an intense week and I came to realize just how important participating in this program has been for me. I initially chose to participate after seeing the transformation in the work of people who had attended the first two sessions. That, along with the lure of working with a group of artists over a two year period was appealing. Now halfway through the program, I find I am getting so much more out of it than I expected.

The program takes a lot of commitment. It is more than just showing up for a week of classes every six months. We have interim assignments after each session. Those assignments include the creation of 2-4 pieces of artcloth, along with other projects, such as color studies, book reviews, presentations on a favorite artist, design studies and thoughtful planning.

Some of the assignments have been enjoyable, some tedious, some difficult to accomplish, but they all have contributed to greater proficiency in my art. So, what have I gained from this program?

I have a much better understanding of color and color relationships. I find it much easier to achieve the colors I want and I am more daring in working with unusual colors and combinations.

I have been inspired by my exposure to other artist's work and ideas.

I have learned a lot about myself - my strengths, challenges and fears.

I have enjoyed the synergy and support of working with a cohesive group of artists.

I feel comfortable taking some risks that I wouldn't have six months ago.

So now, time to work on this session's interim assignments, along with getting caught up on all the other aspects of daily life!

ArtCloth Mastery Program - Week 3

2010-04-14T20:40:00.001-05:00

This week is the third in a series of five workshops as part of the ArtCloth Mastery Program. The week long sessions are spread out over a 2 1/2 year period, with "homework" assignments in between. Below are some photos of the work that people have created since our last session in October.

Lynn Luukinen

Gay Kemmis

Joy Lavrencik

Priscilla Smith

Liz Napier

More to come...

10,000 Flowers - Finally Finished

2010-04-12T07:00:00.001-05:00

I put the finishing touches on four pieces in my 10,000 Flowers series last week. I started them at the end of December, but took a two month hiatus this spring because of a heavy workshop schedule. This is the second version I have created - I wasn't satisfied with the first.

The pieces were created for the ArtCloth Mastery program that Jane Dunnewold teaches. They are based on one of my favorite poems.

I incorporated both flour paste and soy wax resists, along with multiple layers of dyeing and screenprinting and even some handpainting. The pieces are in a rayon/linen blend. The lovely look of linen with the soft drape of rayon. They are long and narrow - approximately 10 feet x 24". Below are some detail shots of the pieces.

10,000 Flowers

The Moon

A Cool Breeze

Snow

Two weeks ago I decided to add a fifth piece to the series to represent the last line of the poem "This is the best season of your life." It is still in progress, although I don't envision a whole lot more. I think just a little bit of copper leaf is all it needs.

The Best Season

Feels good to have them finished. Now it's time for the next project!

2010-04-09T08:48:00.002-05:00

To most people, the above photo would look like a very dirty sink. That is the sink in my home dye "studio", aka the laundry room. This is the best it has looked in two years. Two days ago, the entire inside of the sink was a battleship gray color.

When we bought our house, the laundry room had stained concrete flooring. No, not the kind currently in vogue - I mean 50 year old concrete with a lot of stains. Then, because of a plumbing leak, we had holes in the drywall, no baseboards and stains on the walls. We finally got around to a laundry room remodel this month. When we were putting everything back in place, I just couldn't put that dirty sink back in there. So, I scrubbed and scrubbed and this was the best I could do. I know it will just get dirty again. But it is nice to have a fairly clean sink, even if only for a few months. Now I just have to figure out how to keep that nice new vinyl flooring free of dye!

Color Choices

2010-04-03T16:00:00.002-05:00

Most of the time, I choose colors intuitively. Sometimes they are driven by the theme of the piece, sometimes by my current favorites. Rarely do I choose based on their relationships on the color wheel. That has started to change a little since I read Colorworks by Deb Menz. The book has examples of color schemes based on various color wheel relationships, triad, tetrad, analagous, etc. The photos show numerous color combinations, many of which I would not have thought would look good together. Yet they are stunning!

In the dye class I facilitated last week, I asked participants to limit their colors during the week, so I decided to do the same for all my class demos. I used a rectangular tetrad combination of blue-green, blue-violet, yellow-orange and red-orange. I was surprised and pleased with the results. Even in cases where the colors mixed and mingled, the resulting blends were appealing.

Here are a few of the samples I created during class....